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A unique album of outtakes from the classic ‘Songs
Of Praise’ and ‘In Pursuit Of Shashamane Land’
albums, compiled by On-U archivist Patrick Dokter
from the original tapes and expertly sequenced to
work as an immersive listening experience. A
companion piece to the acclaimed ‘Return Of The
Crocodile’ set from 2016 that took the listener on a
version excursion through the early years of the
group.
 These are the dubbier and more out-there
experiments mixed down whilst Adrian Sherwood
was shaping the sound of the albums. Bubbling
percussion lines skitter across the stereo spectrum,
ghostly voices echo inside the machine and
mangled guitar riffs beam down from Mars, whilst
staying rooted in the tough tribal rhythms that
form the bedrock of the AHC sound. This is music
for the head and feet, take heed!
 Mastered by King Kevin Metcalfe. Comes with
digital download card for full contents plus doublesided poster insert containing an extensive new
interview with African Head Charge mainman
Bonjo Iyabinghi Noah, telling the story of his early
life.

Fresh off a collaborative release on Underground Quality under Grand Combo with DJ Jus-Ed and a solo EP on Patrice Scott's Sistrum, Henry Maldonado (p/k/a Son Of Sound) returns on his home-grown District 30 imprint with 4 tracks of deep, New York City grit in Machines On The Dresser.

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

In 1986 iconic group The Future Sound of London released the UK Top 40 chart album 'Dead Cities', from which came a track 'Yage'. Such has been the interest in this masterpiece of electronica over the years that the guys have been back into the studio to revisit it.

Here, on this limited edition, individually numbered LP press exclusively for 2019's Record Store Day comes the results. 'Yage 2019' takes the core of the original and rebuilds it. All together there are eleven tracks reconstructions and interpretations, woven together (as FSOL do) into a 42 minute dreamscape journey across the 2 sides of vinyl. Only 1000 copies of this release will be pressed on vinyl.

Limited Lenticular 10y Anniversary Edition w/ heavyweight vinyl, printed inner sleeve + digital companion album of unreleased demoes and outtakes from the album

Late of the Pier announce a special 10th anniversary edition of their cult debut album Fantasy Black Channel, produced by Erol Alkan and released in 2008 to great acclaim. Fittingly, the reissue - released on a limited lenticular sleeve, pressed on to heavyweight vinyl and accompanied by a digital companion album of unreleased demoes and outtakes from the album recording sessions. It's set for release through Alkan's Phantasy Sound label, landing in stores on January 18th, 2019.

LOTP (Sam Eastgate, Andrew Faley, Ross Dawson and Sam Potter) were a band of inter-dimensional musicians who landed in the late noughts, whose wild journey took them from the quiet North West Leicestershire countryside to the stages of Coachella, Tokyo and beyond, touring with the likes of Soulwax and Justice. Their music was a mutant take on pop that described the chaos of being a teenager by looking forwards and backwards over and over again until the present moment started to make sense. Following the release of Fantasy Black Channel they put out singles 'Blueberry' and 'Best In The Class' in 2010, picking up fans from Mike Skinner to Dave Grohl along the way. Talking in a 2014 interview, Grohl exclaimed, 'They blew my fucking mind. They're called Late of the Pier. They made one record and disappeared. They use crazy computers and then they rock and it sounds like dubstep for one minute, then it's a crazy prog thing, and it's like, 'Wow'.'

Here we see San Proper and The Mole make a welcome return to the imprint following solo EP's, this time they join forces with Hreno for a three track EP from the powerhouse trio.
Leading on the package is 'Friendly Tears' which features yet another leading figure in the house scene, Dekmantel regular Tom Trago, as you'd expect from such an impressive array of artists we're treated so soul drenched house driven by swinging organic drums, infectious funk licks and hooky synth lines before the 'Chunkless Mix' strips things back a little, laying focus solely on the 80's tinged synth work, delayed vocal murmurs and
minimalistic percussion.'On The Floor' then rounds out the package, retaining a similar aesthetic with choppy guitar melodies, penetrating bass stabs, crunchy rhythms and resonant arpeggio synths ebbing and flowing dynamically throughout.

Are you Vogue enough After contributing her mesmerizing lyrics to Sinfol's 'Crystalline', Barbara Ford now debuts on Anagram with her first solo EP titled 'Sound of the Siren'. From her tense storytelling on the title track, brilliant contrasting elements on 'Fashion Week' and fast paced power grooves on 'Treason' and 'Amotan', Barbara makes it very clear why she made herself a part of the Anagram family with this stellar contribution to the Dutch label's discography.

*Repress*

The Future Sound of London's long and varied history stretches back almost 25 years and as such a vast amount of unrealised material exists in the FSOL Archives.
 
1988 to 2018 - 30 years of recorded history
 
Archived 9 brings further treats from the mammoth FSOL archives - this time ranging from early 90s right up to recent times.

14 unreleased tracks woven together to form over 60 mins of mind bending sound experiments 
From light to darkness from forests to deserts
onwards............ 
 
Did you know - The Future Sound of London were the first band to distribute their music via the internet, in 1994
 
Did you know - The Future Sound of London were the first band to use ISDN technology to transmit their music via the internet and also to radio stations across the world - a system that has now been adopted by the radio industry worldwide

* Following A String Of Releases On His Own Manband Label, Toma Kami Lands On Livity Sound With A Fresh Two Track 12' Contrasting The Zippy Percussive Groove Of 'sharp Tool' With The Gurgling Vibrations Of 'land Of The Insane'.

* Established In 2011, Livity Sound Is A Frontrunning Label In Uk Electronic Music. Since Its Inception, Peverelist's Imprint Has Dedicated Itself To Releasing Innovative Music, Eschewing Existing Forms And Forging Its Own Stylistic Path.

Grammy-nominated Ostinato Records presents "Abu Obaida Hassan & His Tambour: The Shaigiya Sound of Sudan" in a gatefold LP packaging with vintage photos and authentic Sudanese designs.
A complex blend of Arab melodies, Nubian rhythms, and signature Sudanese call and response by a legend of Shaigiya music from nothern Sudan.

Abu Obaida Hassan and the wonders of his five-string tambour remained largely a mystery. In the early 2000's, a prominent Sudanese newspaper declared him dead. Internet forums confirmed his passing. Many in Khartoum, Sudan's capital, said he had indeed died.
But rumors that he was still alive persisted.

What was always certain is Abu Obaida Hassan's mercurial talent.
His command of a modified tambour, backed by a chorus and two drummers, unleashed swirling melodies alongside complex Nubian rhythms and hypnotic Sudanese call and response. His bands roster constantly changed, but he remained at the helm, playing for sold out shows in cities across the country and capturing the dancefloors and youth of 1970's and 80's Sudan. This is a rich, raw example of the human experience with sound from northern Sudan, an ancient part of the world, and the birthplace of civilization. Music like this isn't mastered overnight.

The Ostinato team first came across Abu Obaida's recordings in 2011, finding scratchy bits and pieces along the years. We traveled to Sudan in 2016 to find the clues to piece together the Abu Obaida Hassan puzzle. Through some extensive detective work with our man in Khartoum, Ahmed Asysouti, and a generous dose of good fortune, we tracked Abu Obaida to the rural outskirts of Omdurman, the old capital just across the White Nile from Khartoum. Age has taken its toll, but he remains full of life and music, ready to jointly curate a selection of his eight best cuts. He has written over 100 songs, only 30 were recorded.

Abu Obaida comes from the Shaigiya people, whose culture is spread around the ancient city of Merowe, home of traditional Nubian culture, where pyramids older than those in Egypt still stand. They trace their entire lineage to one man, Shaig, who migrated from the Arabian peninsula in the 15th century. An endlessly rhythmic syncretism between Arab and Nubian styles, Abu Obaida's Shaigiya music was an in demand party affair in an era when a vibrant nightlife and roving sound systems were a staple of life in Sudan.

It was music for a modern era, and Abu Obaida, at just 19, rebelliously abandoned traditional Shaigiya music traditions, pioneering a new sound by adding an extra string to his tambour and electrifying an instrument adored across East Africa. The result was complexity in simplicity and a hyper-talented artist who mirrors the story of Sudan's highs and lows, from the leading tambour maestro of the hour to such obscurity on the fringes that he was believed dead. "They killed me!", he likes to joke.

Abu Obaida Hassan, his music and the musical traditions of the Shaigiya remain alive and kicking. A culmination of a 7-year journey — from first hearing Abu Obaida's distinct sound, found only in Sudan, to finding the man — has produced the first global release of Shaigiya music and is just the beginning of Ostinato's immersion into Sudan, with a full compilation of the lavish musical history of one the most diverse countries in Africa due later this year. All brought to you by the Grammy-nominated team behind last year's "Sweet As Broken Dates."

SOV is glad to welcome aboard the new family member for it's 12th cat. The Mole is a Canadian artist known for his music boutique interpreting elements of disco, jazz, hip hop and funk. Since this kind of game is also the core of our soul, we are happy to present 4 special tracks from him.

The MLH crew brings House music tracks based on raw rhythms, infectious stabs and hard hitting grooves, written somewhere between Chicago, New York, London, Berlin and Paris.
After their first solo EP, MLH bring back the 90's New York vibe with two veterans of this sound : The Dat Project aka William Rosario and Transitive Elements aka Enrico Mantini

As smooth sky blue colour cat can represent, this EP has a smoother beat than its usual style. If you remember its previous EP with a darker colour, now the punching kick and identical house bass are gone and this EP is true showing off the producer's ability as a musician who can adapt to any kind of diversity. The first track "Last Song" has deep bass and atmospheric sounds, like a typical Romanian loop, but after the long trippy beat when the piano sounds kick in, the atmosphere changes and brings back the emotion. The second track 'Get Funky' is also truly hybrid version of house, while the combination of funky vocals and the endless hi-hat and shaker keep the groove tight and the deep down pad sounds mixed smoothly with the forest of beat make for a truly a unique character.
The last track 'Alright' is a very joyful one, even though it uses a typical funky house vocal sample. Its unique way of playing percussion and vocal keep the groove totally "all-right".

Brooklyn's Son of Sound joins hometown label Razor-N-Tape with The Dusty Files EP, a 4-tracker that embodies the gritty and driving sound of the borough.

The A-side kicks off with Your Voodo's Broken, a track that builds to mid-tempo looped perfection even before the floor-shaking bass drops, followed by the beguiling synth patterns and efficient yet driving drums of No Bullets Left.

On the flip side, Nude Jerzee eschews the bridges and tunnels and takes us straight to NJ by way of outer space, and then What Do You Feel floats us gently back to earth on a cloud of strings, electric pianos and a chugging disco beat.

Fresh off Son Of Sound releases on Delusions Of Grandeur and Local Talk, New York based Henry Maldonado is back on his District 30 label with Son Of Sound 05 / The Love Up Beat Down. This 3-tracker features something for everyone, as Jackin' House, Disco-Chug and even Detroit Techno are well represented. Kicking things off on side A is 'Bout Love Again, an adrenalin induced shot of disco house served up the old fashioned New York way. MPC style loops, chop-ups and breakdowns give a nod to the '90s House 2 House style tracks Henry produced on Strictly Rhythm. Not falling too far from that tree is the disco-house chugger Need Each Other.
Rhodes chords accompany a bed of sliced-up New York Disco, for an infectious groove that will denitely keep that 120BPM momentum.Lastly we round out this EP with Inuence Is Bliss. This one will denitely appeal to lovers of Detroit Techno and House alike. Pounding drums, 16th note ride cymbals, arpeggiated synth lines and ghostly soulful chord progressions effectively distract you from the fact this track doesn't even have a bassline.

yes it's the Amsterdam rockstar, who over the last fifteen years rocked major clubs and festivals to smaller bars and dodgy underground locations all around the world.TIP!

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound. Silent Around Them' exclusive to LP vinyl (no CD/digital)

After great success of 2 previous releases, 'Sound Of Vast ' is now about to hit 3rd release. The producer of this deep monster is one of the most respectful Japanese artist, and Womb's resident Dj 'The People In Fog (aka DJ Sodeyama).'
Even though DJ Sodeyama is more known as techno producer, The reason that Sodeyama used the other nickname was, As you could guess from poetic sentence, to express his music in more deeper and emotional ways, he even choose EP name as 'Deep', also, all the track's titles contains the word 'Deep', funny but straight forward way of thinking, if you want to deliver right moods on the dance
floor, by not only sold beat but also unusual emotions that come from organic percussion, this whole EP will give you the answer.
As usual of SOV policy, this EP contain one each of exclusive digital, and vinyl only tracks, this time, 'Deep
Woods Remix' chosen as vinyl only exclusive, the remixer 'Elbee Bad' is the legend of US House, as known as 'The Prince Of Dance Music', if you are fan of Rush Hour Records you should be heard about his name, as he is one of the be loved, and featured artist from the label. His remix of 'Deep Wood' is indeed funky and sexy, one more reason to have this vinyl in your collection.
Lastly, this EP will pressed 500 copies only with out repressing, quicker people will have a benefit as usual.

Holland"s no. 1 hardstyle dj/producer ZANY proudly presents the third FUSION OF SOUND SAMPLER on, of course, the mighty Fusion imprint! Again three extended versions of three hardstyle bombs taken from the award winning album THE FUSION OF SOUND.

Awesome hardcore to industrial hardcore sampler on WISHCRAFT RECORDS! Headliner of this phat 12" is the A1 track DIRTY DANCE WHORES by DJ PARTYRAISER & SCRAPEFACE which is already featured on the new THUNDERDOME 2006 compilation and gets hammered by loads of top djs like TIEUM, PARTYRAISER, DARKCONTROLLER, LENNY DEE and many more!

2024 Repress

2LP gatefold with liner notes, 180gr vinyl. 'Funky Chimes' is a two-hour collection of excellent and unique grooves. It contains 27 of the most interesting yet long forgotten Belgian dance tracks from the seventies.

'Funky Chimes' is a two-hour collection of excellent and unique grooves. It contains 27 of the most interesting yet long forgotten Belgian dance tracks from the seventies, when a generation of extremely gifted and versatile musicians experimented with funk, jazz, latin and other grooves.
'Funky Chimes' is in many ways the logical follow up to 2014's highly acclaimed compilation 'Funky Chicken'. Uncovering a blind spot in Belgium's musical heritage and unearthing a diverse collection of hidden treasures. 'Funky Chicken' has induced a renewed interest in Belgium's rare grooves from the seventies, which until then had never been regarded a genre worth mentioning. Having said that, this second instalment is much more than just a fast sequel or a batch of leftovers. The music's quality matches that of its predecessor, but the treasure hunt was even more adventurous, and the stories behind some of the nuggets even more gripping.

2025 Repress


Australian music devotees András and Instant Peterson hold a candle to overlooked avant-pop and electronic works by antipodean artists and outsiders working through the 80s and 90s. Through co-presenting weekly radio show Strange Holiday, the duo slowly upturned their locale for inspiration - archives, country bookstores, private collections and convenience stores, searching for a place to anchor their own identities in the oceans of the island continent. The 10 tracks acknowledge a minor history, passed on via a network of friends, friends of friends, the libraries of radio station 3RRR and more often than not, the artists themselves. Renowned mixed media artist Maria Kozic enters with the mysterious downbeat of Trust Me, her husband Philip Brophy responsible for digital and analogue sonic construction. A recurring character in András and Instant Peterson's investigations, Brophy reappears with a score piece from his divisive feature film Salt, Saliva, Sperm and Sweat, recorded as (pronounced 'Tch Tch Tch"). Other links are thread under the surface. Melbourne inner north experimentalist David Chesworth explores his Australiana songcraft leading Whadya Want. The short lived project also featured Philip Jackson, whose husband-wife duo The Couch is restored from Fast Forward's dance issue - a pioneering cassette fanzine published by early-80s 3RRR personality Bruce Milne.

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

For our 50th release on Delusions Of Grandeur we're pleased to bring you seven exclusive tracks from a mighty-fine collection of both existing DOG artists and veritable newcomers alike.
Part Two opens with Underground Quality key player Son Of Sound who brings a bucketful of attitude on Under The Son, laying down a rough-edged groove and getting on one with his vintage keys.
Up next we have Sebastien Vorhaus & Ponty Mython who bring us the beast that is I'm The Slime. Easing us into things with gentle rhodes samples and a skippy groove, Vorhaus (of Soul Of Hex fame) and Mython soon develop things with hints of acid before unleashing a jazz piano riff that can be best described as unhinged.
Flipping over the mysterious Zepp001 hunt and gatherer brings us Enemy. There's elements of disco with bouncing syndrum fills and a mysterious mood prevails as shakers rattle, bells chime and congas slap but when the bassline drops it's clear we're into some serious future s**t here.
Finally, we have our very own Norm De Plume who lays down a bad-boy groove with a rocking bassline, clattering cowbells and tension-building pads bringing an intense build and rounding off our 50th release in fine fashion, we hope you agree.

2023 Repress

King Tubby's and Channel One were two of the great studios that produced so many of the great reggae rhythms in Kingston.Jamaica find themselves here for one night only battling for the trophy.
So who would be better placed to compare the Dub Soundclash from the two great studios then Bunny Lee himself.
Throwing rhythms over at Channel One who had enlisted the great DJ Jah Stitch to return the fire.
So sit back and enjoy two great institutions of the Reggae sound ,battling it out for sumpremacy.
The winner...we will leave that decision up to the listener.
But in this Dub Soundclash there is no loser...
All killer..No filler...Enjoy

Repress coming!

A year on from 'Good Evening', the critically acclaimed collaborative album with Verb T & his
stellar contribution to Ocean Wisdom's UK TOP 40 'Wizville' album, producer Pitch 92 is
ready to show off his new works to the world, as he enters a new stage in his career and begins
to spread his wings as a solo artist. Known for his soulful sound, inspired by the likes of
Madlib, Pete Rock & J Dilla, Pitch 92 has carved out his own unique style and pulled out all the
stops for his debut release on High Focus Records.
Entitled 'Lost In Space', this new EP is a perfectly balanced mix of vocal and instrumental
tracks showcasing the raw talent of the Manchester based producer. Pitch 92 has assembled a
healthy roster of artists to work alongside, ranging from UK Hip Hop royalty to up & coming US
artists as well as accomplished musicians.
Spanning from UK Hip Hop favourites such as Jehst & Verb T, to new faces such as K S R ,
Sparkz and Doctor Outer as well as hooking up with Sony Music's Ashely Henry, one of the
UK's most accomplished jazz pianists as heard on 'One Handed' - Pitch 92, armed with his
trusty MPC, expertly provides the perfect backdrop to accommodate each of his guests, as well
as putting forward instrumentals that stand out as masterpieces in their own right, Pitch 92
applies finesse and the ability of a veteran producer, despite only being 26 years old - One
listen of lead single 'Lost In Space' featuring Jehst and Confucius MC is all you need to
confirm that we are indeed listening to a master at work.
In short, 'Lost In Space' is a production masterclass and serves as the perfect introduction to
the Pitch 92 sound, of which you will be hearing more and more, guaranteed.

"The dazzling symphonic album he always threatened to produce" UNCUT 5/5
"A soulful symphonic masterpiece" ROLLING STONE

Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing andMelody Nelson-era-Gainsbourg, it's an album bound together by Liam Hayes' maverick genius, an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should've always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm - it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire's horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

A wide-eyed opus of stunning intensity, Fed oozes Hayes' impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments, horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of "Having It All" has been described as the diffident cousin of Marvin Gaye's "Save The Children" whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb's beloved Land's End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite, moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes' compelling vocal bursts.

An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct "more is more" aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

BACK IN STOCK

Tropical Disco's first vinyl outing serves up 4 stellar disco reworks tailor made for dancefloors worldwide.

A trip through the productions of pioneering genius Joe Meek. Here we have a mix of hits that have appeared on comps before and real out-there obscurities. Designed to be highly listenable. Never a dull moment amongst these songs that cover subjects close to Joes' heart such as vampires, love (and the lack of it), death, outer space, the human soul, Buddy Holly, and more. Artists featured are The Blue Rondos, The Blue Men, Jason Eddie and the Centremen, The Sound Offs, The Moontrekkers, Johnny Leyton, The Cryin' Shames, Mike Berry, The Outlaws, Chick Lewis, Glenda Collins and even Joe himself warbling out a tune. One time very small pressing so please don't sleep.

Limited double gatefold LP version (16 tracks) of the exciting new release from hip hop legends A Tribe Called Quest.

A Tribe Called Quest - Q-Tip, Phife Dawg (who passed away on March 22nd, 2016), Ali Shaheed Muhammad, Jarobi White - the groundbreaking 90's group that forever transformed the urban music landscape reunited on their first and last studio album together in eighteen years. Guests on ''We got it from Here...Thank You 4 Your Service''

Rockets Audio starts the saga with 4 finest minimal house trackers by Matheiu, Denis Kaznacheev and the master trio Wareika. A rocket (from Italian rocchetto "bobbin" is a missile, spacecraft, aircraft or other vehicle that obtains thrust from a rocket engine. Rocket engine exhaust is formed entirely from propellant carried within the rocket before use. Rocket engines work by action and reaction and push rockets forward simply by expelling their exhaust in the opposite direction at high speed, and can therefore work in the vacuum of space.

In fact, rockets work more efficiently in space than in an atmosphere. Multistage rockets are capable of attaining escape velocity from Earth and therefore can achieve unlimited maximum altitude. Compared with airbreathing engines, rockets are lightweight and powerful and capable of generating large accelerations. To control their flight,
rockets rely on momentum, airfoils, auxiliary reaction engines, gimballed thrust, momentum wheels, deflection of the exhaust stream, propellant flow, spin, and/or gravity.

Rockets for military and recreational uses date back to at least 13th century China. Significant scientific, interplanetary and industrial use did not occur until the 20th century, when rocketry was the enabling technology for the Space Age, including setting foot on the Earth's moon. Rockets are now used for fireworks, weaponry, ejection seats, launch vehicles for artificial satellites, human spaceflight, and space exploration.

SOUND rockets are the most common type of high power rocket, typically creating a high speed pitch by the wave of rythm with an oxilator. The stored delay can be a simple pressurized detune or a single filter delay that disassociates in the presence of a curve (EQ + FILTER ), two hats that spontaneously react on contact (RANDOMIZER), two snares that must be ignited to react, a solid combination of effects with oxidizer (solid GROOVE), or solid fuel with liquid oxidizer (hybrid FILTER BAND DELAY). Chemical rockets store a large amount of energy in an easily released form, and can be very dangerous. However, careful design, testing, construction and use minimizes risks.

The mysterious Teisco LP is perhaps the most bizarre artefact to emerge from the phenomenal world of Italian Library music. Originally scored for a 1978 RAI television documentary, the album titled Tuscan Castle and Country Seat conforms to nothing you know or understand about library music. Studying composition under maestro A.R Luciani, the young Teisco composed innovative home studio recordings that parallel the outsider technique of French soundtrack composer Francois De Roubaix. With little resemblance to the standard cues usually found on library music LPs, this is stoned underground psychedelic music of the most eccentric kind. Imagine lyrical Moog oscillations drifting loosely over baroque and hallucinogenic atmospheres, or alternatively, think the DIY guitar jamming of the Velvet Underground and Dream Syndicate mixed with the electronics of some lesser-known Krautrock band. Wherever this recording sits among the dusty shelves of forgotten stock music, it is highly personal, deeply rewarding and without a doubt the most mind-blowing library record you will hear this year. This record is soon to be an outsider classic.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Limited to 500 on gold vinyl WW!! Over two decades later, KRS One's debut solo album Return of the Boom Bap finally gets the reissue it deserves. Pressed for the first time on gold vinyl, this double LP not only includes a bonus 7' of Kenny Parker remixes, but also features the first-ever colour sleeve on a U.S. pressing. Stripping away the intricate production of the final Boogie Down Productions album, Sex and Violence, Return of the Boom Bap saw the already iconoclastic rapper return to the bare bones, gritty territory of his landmark masterpiece Criminal Minded. KRS-One's delivery, burned with a reinvigorated fury, spits out his rhymes with pummeling cadences and world-wise intelligence. Although the record isn't as focused on social activism and political protest as the latter Boogie Down albums, KRS-One never made his lyrics simplistic, nor did he turn his back on what could now be called prescient social commentary. The combination of raw beats and emotion-driven rhymes made Return of the Boom Bap a genuine comeback for KRS-One, one of the founding figures of modern hip-hop.

Rare Australian funk/jazz/blues LP from 1977. Limited edition of 500 copies.....
Until recently Leong Lau's records of the 1970s were well kept secrets of only the most avid Australian record collectors. Left Ear Records, along with the help of Leong, are proud to give collectors a chance to add That Rongeng Sound to their collection. Leong's unique Malay-jazz-meets-Aus-funk identity, takes listeners on a journey through funky beats and flowing melodies and is the reason the album is arguably one of the most innovative and exciting Australian funk/jazz albums. This reissue of the original 1977 LP is limited to just 500 copies and comes in a high quality tip on gatefold featuring original artwork and a brief biography on the enigma himself - Leong Lau.

This Is The Second Installment Of Deep Roots Rastafarian Reggae At Studio One And Features Classic Music From Some Of The Most Important Figures In Reggae Music - Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators - Alongside A Host Of Rarities And Little-known Recordings, Such As A Truly Rare Mystic Revelation Of Rastafari Seven-inch Single, Willie William's First Ever Recording 'calling' And Horace Andy's Righteous (and Equally Rare) Masterpiece 'illiteracy. Black Man's Pride 2 Extends The Legacy Of Studio One's Ground-breaking Path In Roots Reggae Which Began At The End Of The 1960s And Continued Throughout The 1970s. The Album Tells The Story Of How The Rise Of Studio One Records And The Rastafari Movement Were Interconnected, Through The Adoption Of The Rastafari Faith By Key Reggae Artists - Everyone From The Skatalites And Wailers In The 1960s, Major Singers Such As Alton Ellis And Horace Andy At The End Of The Decade, Through To Major Roots Artists Such As The Gladiators In The 1970s - And How Clement Dodd Consistently Recorded This Heavyweight Roots Music Throughout Studio One's History.
The Sleeve-notes To This Album Also Discuss The Links Between Rastafari And Studio One In Time And Place, Noting How Both The Religion And Clement Dodd's Musical Empire Had Their Roots In The Intense Period Of Pre-independence Jamaica In Kingston, Expanded In The 1960s Following The Visit Of Haile Selassie In 1966, And How Roots Music Then Came To Dominate Reggae Music In The Early 1970s. Also Discussed Is How The Outsider Stance Of Both Reggae Music And The Rastafari Movement Relate Back Many Hundreds Of Years To The Original Rebel Stance Of The Maroons, Escaped Slaves Who Set Up Self-sufficient Enclaves In The Hills Of The Jamaican Countryside.

Record Kicks Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Singles. Available In Ltd Edition Double Clear Vinyl Lp, Cd And Digital Download. Side By Side With Similar Outfits Like Daptone, Truth And Soul, Freestyle Or Timmion, Under Its Motto "the Explosive Sound From Today's Scene" Milan-based Independent Label Record Kicks Has Been Pitching The Contemporary Funk & Soul Scene Since Day One.

With Over 200 Releases Under The Belt, Rk Has Released Bands From All Over The Globe And Earnedthe Support Of Vip Fans Such As Kenny Dope, Jamie Cullum, Craig Charles And Not Least Jay-z, Thanks To Which The Label Has Recently Received A Grammy Nomination For Hov's Use Of Hannah Williams' "late Nights And Heartbreak" As Backdrop For His "4:44". The New Instalment "record Kicks 15th" Coming Out Next May 18th On Double Clear Lp, Cd And Digital Download, Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Tracks And The Very Best Of It's Roster.

The Album Kicks Off With Rk's Latest And Youngest Signing:
From Chicago, Heavily Inspired By The Impressions And Leroy Hutson, We Are Proud To Present You "the Devonns" With Their Super Soulful Debut Single "come Back", An Appetizer Of Their Debut Full Length Expected To Land On Rk Next Autumn. Another New Signing To The Label Is Men Of North Country's (acid Jazz Records) Side Project "the Faithful Brothers", Here With Their New Single "one More Time".

Other Exclusive Tracks Of The Comp Are "this Strange Effect", A Coverup Of The Hooverphonic's Single From 1998 Brought To You By Dutch Northern Soul Disciples The Tibbs, "love You Back" From Detroit Deep Funk Outfit Third Coast Kings, "the Sort" By The Buenos Aires Mod Reggae Kings The Crabs Corporation, "top Dog" By British Funk Combo The Hook & Slingers And Straight From Down Under "you Don't Know Me" By The Always Great Dojo Cuts.

Along With These New Exclusive Cuts, Dig On Some Label's News Singles And Heavyweight Classics Such As Dj Shadow's "this Time" Taken From Baby Charles Debut Lp, "don't Throw Your Love In The Garbage Can" By James Brown's Original Funk Diva Martha High Feat Japanese Funk Ambassadors Osaka Monaurail, "psycheground" The Brand New Afro-funk Single By Calibro 35 And Then Portuguese Tnt Dynamite Marta Ren & The Groovelvets, Toronto Soul Queen Tanika Charles, Uk Funk Ambassadors The New Mastersounds, The Diplomats Of Solid Sound And The Already Mentioned "late Nights & Heartbreak" By Hannah Williams & The Affirmations.

In celebration of 20+ years since their classic debut Uptown Saturday Night, Bronx duo Camp Lo present a special double-album 2XLP with On The Way Uptown & The Get Down Brothers. On The Way Uptown features a collection of demos and unreleased songs made between 94' - 95', leading to their official debut in early 1997. Aside from the early versions of their hits Luchini (AKA This Is It),' Sparkle,' Black Connection,' and Coolie High', other standouts include World Heist', Coolie High Is Life' & A Piece of the Action'.

On The Get Down Brothers, Camp Lo completely pivot away from their 90's nostalgia into a much more futuristic and experimental sound. Although the production is different, their signature tongue-twisting and hype flows remain, creating a unique and seamless fusion packed into 10 dynamic tracks.

Inside Out is a brand-new series that invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. Coming from Aus Music label head and DJ-Kicks curator Will Saul, the concept encourages artists to showcase their own music and or the music of those in their own individual circles. The mix will be release digitally and on CD, while a selection of the tracks will also be available on double gatefold vinyl.

Each instalment will feature 100% new and unreleased music. It is a chance for artists to take sole creative charge, A&R as they see fit and then commission brand new music specifically for the cause. Depending on who is at the helm, Inside Out will take different forms: producers may wish to represent their own sound with only music they have made themselves or with close collaborators, while DJs and label heads may wish to reflect the sounds and scenes that surround them. The results will be a window into an artist's world that works as a coherent mix, but also as a treasure trove of fresh new music that steps outside the usual lines of a dance album.

The idea stems from Will Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. That feeling of taking people into the unknown is one that reminds him of the energy and excitement of his early days as a dancer.

For Will's mix he enlists an array of artists who he's worked with over the years, many of whom have released on one of his labels in that time. These include the likes of Lone, Pearson Sound, Move D, Gerd, Youandewan, Martyn, Falty DL, Dauwd, Appleblim and Marquis Hawkes.

With his new album 'Trail Of Intuition' Danish singer and songwriter Jacob Bellens once again is shimmering somewhere in-between electronically influenced songwriting and synthpop music, using his characteristic voice to reflect on his life's journey. Since the age of five, making music means creating a parallel universe to Jacob Bellens. It's his very own space, where he can be himself and always retreat to, no matter what happens. Out of this universe the Copenhagen based musician has released numerous songs and albums with his previous bands I Got You On Tape and Murder, with side projects and features as well as a solo artist. 'Trail Of Intuition' is his fourth solo album and the second one that's internationally signed with hfn music. Unlike the songs for his previous release 'Polyester Skin", which he wrote mostly on piano and guitar before sending them to producer Kasper Bjørke for final production, Bellens wrote all the songs for 'Trail Of Intuition' on his computer. You could see him sitting in front of his laptop in coffee shops across Copenhagen, with his headphones on, letting the basic programming and pre-production of the songs become an essential part of the writing process. The final production was made mostly by Rune Borup, who he knows back from the I Got You On Tape days and his friend Lars Iversen (The Asteroids Galaxy Tour), with whom Bellens also had the band project Goblins. The new album is a collection of snapshots of the whole range of feelings for which Bellens digs into the pool of his own experiences.

Sare Havlicek veröffentlicht sein viertes Album "Softmachine" auf Nang Records. Es ist ein Synthesizer-Epos mit zehn Tracks, das uns durch mehrere musikalische Aromen von Electronica, Italo, Dancefloor, Disco und sanftem Soulpop führt.

180 GRAM AUDIOPHILE VINYL
INCLUDES TWO INNERSLEEVES WITH TRACKLIS-
TING, CREDITS AND PHOTOGRAPH OF KRS-ONE
FEATURING THE CLASSIC HIP HOP TRACKS
SOUND OF DA POLICE' AND P' IS STILL FREE'
ORIGINAL MEMBER OF BOOGIE DOWN
PRODUCTIONS ALONGSIDE DJ SCOTT LA ROCK
LIMITED EDITION OF 1.000 COPIES ON
TRANSPARENT VINYL Return of the Boom Bap is KRS-One's first official solo album, released in 1993. It peaked on the Billboard 200 charts at position 37. According to KRS-One the album has sold over 300,000 copies.Unlike the majority of the Boogie Down Productions LP's, KRS here takes a step back from the production duties and invites rising underground stars DJ Premier, Showbiz and Kid Capri to handle the beats in addition to his four contributions. The track P Is Still Free' appeared on the Menace to Society Original Soundtrack (MOVATM152) labeled as a B.D.P. track. The track Black Cop' was originally released as a 12' single and a track for the CB4 movie soundtrack, thus also labeled as a B.D.P. track.The album was selected as one of The Source's 100 Best Rap Albums. The record was originally rated 4 mics in The Source in 1993.

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

* This is the second of two 10" EP's from the legendary G.T. Moore, comprising of the mid 90's album `Ganja Flower', which came on a very limited edition CD on Jah Works.
*`Ganja Flower EP 2' is a 6 track vocal and dub 10" which features `Heal the Blind', `Sound of the Ghetto' and `Turn Israel'.
* Produced at Channel One UK studio by G.T. Moore and Rej Forte for the Jah Works label.
* The remaining tracks from the original album feature on `Ganja Flower EP 1' (PRTL10008).
* Limited press 500 only.

Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It's not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's 'Mango Drive' adding to the haunting hypnosis, while choral interruptions aid Miles Davis' 'Générique' on its journey towards the light. Meanwhile, on Boards Of Canada's 'In A Beautiful Place Out In The Country', the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold's 'You're The Only Star', a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers' 'Honey Bunch', that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from


there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

Requiem for a dreamstate. It's possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins' world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he's gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar's 'Hold Me Down'. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute 'Requiem For The Static King Part I'. Sigur Ros offshoot Jónsi & Alex's heroic 'Daniell In The Sea' sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling 'Yr Love' by Holy Other or the pair of Black Country acts Bibio and Letherette, whose 'After Dawn' is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane's wistful 'Lady Divine' or even Four Tet's mesmerising 'Gillie Amma I Love You', with its enchanting kids' choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer's 'I Remember'.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

In the beginning of the 80's reggae music became increasingly in tune with what was happening in Kingston's dancehalls....probably more so than at any time since the sound system operators had started to make their own shuffle and boogie in the late 50's..
The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real,raw roots of the music...brash,confidient,young record producers who were totally in tune with the youth audience stepped forward and seized the moment...
Oswald'Ossie'Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny 'Striker 'Lee and Winston 'Niney the Observer' Holness before moving on to Miss Sonia Pottingers Tip Top Records...
'I ended up working in three record stores on Orange Street from 1976 to 1981...Yeah man,Me deh 'pon me bicycle till I buy my motorcycle..Them days records were coming out left right and centre..everyday'
Ossie Thomas...
It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began The Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue.
And the man who had made his name in the business selling other people's records now became one of the most important and influential record producers of the era..

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

They say 3 is the magic number so here we are with Part 3 of our 'Back To The Old School' 12" series. Four cuts of the finest Disco-Rap remixes by Dave 'Love' Lee, we start things right off with some uptempo disco in the shape of Eddie Cheeba's " Lookin' Good" with it's clav stabbing & synth jabbing funk, ready to rock any dance floor with it's brilliant part-rapped, part-sung vocal play. Two versions are included of the B-Boys early 80's breakers anthem 'Rock The House'. First up is the breakbeat underpinned 'Magic Funk' mix that utilises one of the funkiest basslines of all time. On the flip the 'Roller Rink' mix is a mid tempo floor filler reprising a much loved 90s r&b jam to great effect. Finishing affairs is the 'Maximus Boogie Mix' of Maximus Three, leaning heavily into the classic disco-rap sound of fat Good Times bass, squelching synths under the bragging raps of TJ Swann and Pee Wee Mel.

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

Nearly two years after "Superpaesaggio," Futureslowdubdisco rematerializes with a new album rooted in deconstructed rhythms, suspended atmospheres, minimalism, emotional tension, and ethnic echoes. Simone Ticconi and Francesco Colagrande, true explorers of sound, first delve into dark and shadowy ravines ("Shaman"), then descend into ocean depths ("Wendigo"), and make their way through impenetrable forests ("Natureconnection"), finally reaching the slopes of an active volcano ("Manitou").
The adventurous journey is rounded out with two more danceable remixes by Virtual Reality and Adelmo.
The crowning achievement is the artwork created by Awer, which pairs with the previous work by Flavia Mastrella.
Postmodern library music of great pathos. Giosue' Impellizzeri.

FUTURESLOWDUBDISCO is a project born from the meeting of producers Simone Ticconi and Francesco Colagrande. The duo explores sonic territories that combine downtempo, minimal techno, and dub. A blend of deep and hypnotic atmospheres, capable of moving between the contemplative dimension of listening and the pulsating energy of club culture, for an unforgettable rhythmic, ethereal, and psychedelic journey.






e B2 NATURE CONNECTION VIRTUAL REALITY RMX (min 4.41)
[f] B3 SHAMAN [ADELMO RMX] (min 4.58)





[e] B2 NATURE CONNECTION [VIRTUAL REALITY RMX] (min 4.41)
[f] B3 SHAMAN [ADELMO RMX] (min 4.58)





[e] B2 | NATURE CONNECTION [VIRTUAL REALITY RMX] (min 4 41)
[f] B3 | SHAMAN [ADELMO RMX] (min 4 58)