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The Senior Service returns with a brand new 10” for 2022. A year or so ago, The Senior Service decided that it wanted to add a little more to its well-honed instrumental sound. On one slightly drunken night out, they approached local songwriter and chanteuse Rachel Lowrie and asked if she’d like to perform guest vocals on some specially written new material. By this time, Rachel had supplied impressive ‘pipework’ on quite a few Medway records so the band was confident that she’d be able to deliver – the band was right.
Following a lengthy hiatus in activity due to lockdown restrictions, The Senior Service was finally able to get together to record the new songs, so they piled into Ranscombe Studios to crack on. It soon became apparent that they’d lost none of the chemistry that had made them such a powerful musical collective and the instrumental backing tracks were laid down with relative ease. It was when Rachel arrived and sprinkled vocal sugar over the tracks that they really began to shine! Intuitively, she understood the approach needed and delivered a made-to-measure performance for each song. this collection includes four original tracks penned by the band plus two rollicking covers of lesser-known instrumentals; John Schroeder’s take on ‘Lovin’ You Girl’ – a slinky slice of lounge grooviness, given a slightly chunkier sound, informed by the band’s musical aesthetic, and ‘Mysterious Land’ – The Chris Lamb Orchestra’s little heard filmic masterpiece; a track seemingly tailor-made for the band to get its musical chops around. So, we invite you to spend ‘A Little More Time with The Senior Service’.

Created on the western edges of the infinite plains and prairies of coldest Canada, Edmonton, Alberta's HOME FRONT dance freely and madly along the edges of time and create their own moment amongst the revered and long frozen reserves of THE CURE, SUICIDE, ECHO AND THE BUNNYMEN, "Second Empire Justice" era BLITZ, and NEW ORDER. A record bubbling over with analog synth, guitar loops, slammed 808 drums, and anthemic vocal pushes tugging at the great moment in-between the “death” of punk and the “birth” of new wave, pulling fresh sounds into their punk roots and shoving a studded leather jacket around a silk robe. Justice, violence, doubt and uncertainty a la Gary Numan narrating a Warren Miller Extreme Ski Special on the set of TO LIVE AND DIE IN LA: this is HOME FRONT. Recorded by HOME FRONT in an unheated plywood box in some semblance of fading daylight. Produced and mixed in the darkest depths of lockdown by Jonah Falco on a boat moored outside an isolated estate along the A40 in between sets of "The Evil Russian Pushup Challenge" and icy walks to Lidl

September 2021 marks the 10th anniversary of Dome of Doom. Collecting 30 tracks spanning from 2011-2021, label founder Wylie Cable put together Decade of Doom as a reflection of the first pillar in a long and continuing story—and the many phases the label has experienced thus far. Decade of Doom comprehensively serves as a homage to many of the artists, people and experiences that tell the label’s story, splintering outward toward an abundance of communities that continue to nourish one another. These tentacles all leading back to the hand-selection of releases Cable has diligently been at the heart of since the first vinyl and cassettes were pressed.



[c] A3 Kenny Segal – Worlds To Run [VIP Dub]






















[z] D26 QRTR – And Still [Interlude]

Red Vinyl

Deka is the name under which we celebrate the tenth album released in the last six years of Sin Hilo. This time in vinyl format and with a compilation of the styles that unite us most: IDM, electro and rhythms taken directly from the dancefloor.

Seven unique tracks from some of our most special artists. Sölna, Atico Corp., Sound Synthesis, Not On Earth and Frank Jhonson join our family with sounds ranging from the smoothest electro to the most "macarras" beats. And once again, Promising Youngster and Jailed Jamie (aka Skygaze) are with us with their signature IDM.

In 2022, the Vienna Philharmonic's New Year's Concert could once again take place in front of an audience. However, 2G-plus rules and an FFP2 mask requirement applied throughout the Gesellschaft der Musikfreunde building in Vienna. Standing room was not offered this year and the number of seats in the Golden Hall was limited to 1,000.

Daniel Barenboim performed with the Vienna Philharmonic as a young pianist as early as 1965, and he has also conducted them since 1989. He already took the podium at the tradition-steeped New Year's Concert in 2009 and 2014. Barenboim's engagements as head of the Berlin State Opera Unter den Linden and the Staatskapelle Berlin, as founder and director of the West-Eastern Divan Orchestra, and as a pianist show him to be a true musical citizen of the world. As such, he is also an exceptionally good fit for Vienna's world-class orchestra and the message of the New Year's Concert: hope, friendship and peace for the whole world.

At the start of the new year, the Vienna Philharmonic once again presented a cheerful, upbeat and contemplative program of symphonic waltzes, polkas and marches by the Strauss dynasty and its contemporaries. The 2022 program showed a clear reference to the fantastic and fairytale-like. In addition to the phoenix, a siren and an indeterminate number of brownies and nymphs, there was also Johann Strauss' waltz "One Thousand and One Nights".

Six pieces had their premiere at a New Year's concert in 2022. The "Phoenix March", the Polka mazur "The Siren" and the Polka française "Nymph Polka" were performed by Josef Strauss. Eduard Strauss was represented with the quick polka "Kleine Chronik", Carl Michael Ziehrer with the waltz "Nachtschwärmer" and Joseph Hellmesberger with the character piece "Heinzelmännchen" among the repertoire novelties.

There is the 50th anniversary of the UNESCO World Heritage Convention to celebrate in 2022, which Austria also joined 30 years ago. In the intermission film of the concert, the twelve Austrian World Heritage sites showed themselves from their best side. Schönbrunn Palace in Vienna, on the World Heritage List since 1996, was also the setting for the ballet interlude with ten dancers from the Vienna State Ballet to the waltz "One Thousand and One Nights." The second performance was created at the Spanish Riding School, which has been designated as a UNESCO Intangible World Heritage Site since 2015. Eight magnificent Lipizzaner stallions and their riders demonstrated the high school of classical horsemanship to Josef Strauss's "Nymph Polka".

The phoenix, a very special bird from ancient Greek mythology, burns at the end of its life cycle, only to rise again from its ashes. The Vienna Philharmonic Orchestra paid tribute to it twice. The concert began with the "Phoenix March", followed by the waltz "Phoenix Swing". Such a concert opening - with a march and a waltz - should be a sign. It is to be hoped that a rebirth and renewal in the new year can really take place.

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

Emigrate. The one-time project has become more than that. Much more. The three studio albums, EMIGRATE (2007), SILENT SO LONG (2014) and A MILLION DEGREES (2018), prove that squarely behind Emigrate stands Richard Zven Kruspe – an extremely creative mind who needs the freedom to explore his music and his vision in ways outside of Rammstein. With Emigrate there are no limits, no barriers. Everything is possible, nothing held back, and it’s this ethos that underlines THE PERSISTENCE OF MEMORY, the new studio album, set for release on November 5th. THE PERSISTENCE OF MEMORY is a special jewel indeed, with the nine featured songs bringing together ideas that Richard has collected across the last two decades. Industrial Rock, Rock with electronic elements, however you choose to describe it, there’s no question that the songs here always contain a strong sense of melody, as rousing as they are deep. At one stage, it seemed that the tracks might be part of a bigger project – a vinyl box set of the first three albums with an additional LP included. On this bonus LP would be a selection of unreleased songs dating from 2001 right through to 2018. In the end, however, this material was considered too precious to sit beneath the ‘bonus’ heading, so THE PERSISTENCE OF MEMORY was born... Richard reacquainted himself with his hard drives, coming across ideas, songs and lyrics that deserved to be brought into the light, material too good to remain in the archives. He threw himself fully into the task at hand, as he always does, working on the basis that "A good idea remains a good idea”, and if he felt that there was more to be gained he was open to taking another look at the arrangements and the lyrics; new parts were also recorded here an’ there, after which the entire mix was given a fresh polish, ensuring that the nine songs have a contemporary yet timeless coat of paint. This time, Richard tried to keep things as simple as possible, allowing the creativity to flow, keeping his sights firmly set on pure, raw Emigrate songs. Says Richard: "These songs were created at a certain point in my life, but ideas don't have an expiration date. Sounds, lyrics and themes, on the other hand, do." "Freeze My Mind", for example, is one of the first Emigrate songs ever written, going right back to 2001. Now, 20 years later, it sounds fresh, of the moment, yet Emigrate through & through, something that is true of the album as a whole. Some of the elements are forged in a familiar heat, but these are married to new ways of working, new influences and challenges.

Six months on from the release of their critically-acclaimed fourth album, ENTERTAINMENT, DEATH, Philadelphia trio SPIRIT OF THE BEEHIVE closeout 2021 with brand new 7” THE DOOR, comprising two previously-heard but never physically released songs in “THE DOOR IS OPEN” and “THE DOOR IS CLOSING”.

A special and limited release, 500 copies of the single have been pressed on cloudy teal vinyl. The 7” is led by “THE DOOR IS OPEN”, a 2020 single that marked a new chapter for the band ahead of the release of ENTERTAINMENT, DEATH. The song “continues to defy definition”, Stereogum said upon its initial release, before adding: “It’s amazing that they made such a short track feel like such a dreamy journey.”

It’s backed by “THE DOOR IS CLOSING”, a bright and skewed gem of a track that was originally released earlier this year via Through The Soil, a charity compilation that benefited the NAMI COVID-19 Mental Health Support Fund.

Whether opened or closed, THE DOOR is a bold reminder of SPIRIT OF THE BEEHIVE’S many layered and colourful ideas. It also ribbon-ties a brilliant 2021 for the band, one which saw ENTERTAINMENT, DEATH labelled as “an intensely beautiful, intensely difficult record” by Pitchfork, a “sprawling odyssey of haunting dissonance and blissful euphoria” by Flood Magazine, and a "storm of sound with a deep humanity coming through” by Fader.

SPIRIT OF THE BEEHIVE is Zack Schwartz, Rivka Ravede and Corey Wichlin.

The highly anticipated debut album from Franco American conductor/composer/arranger. Uèle Lamore specializes mixing orchestral and acoustic textures with modular, electronic and synthetic elements. Not just affiliated to classical music, she likes to dive into the fields of composition and arranging through many musical styles: electro, new wave, rock, techno, minimal, neo-soul and many more that are left to explore leaving an infinite range of possibilities. The ten album tracks were composed and produced by Uèle Lamore herself and include 3 features from English speaking artists including Gracy Hopkins, who featured on the critically acclaimed The First Tree. Previous collaborations include Radiohead, Frank Ocean, Jonny Greenwood, Steve Reich, Terry Riley, Thom Yorke, Mica Levi, Beck and many more. Promo/marketing activity.

Travelling Without Moving; long considered one of Jamiroquai’s most
popular albums and the best-selling funk album of all time celebrates it’s 25th year in 2021 with this special heavy weight coloured vinyl release.

Originally released in September 1996, the album features seminal hits ‘Virtual Insanity’ & Cosmic Girl’ which helped catapult it to #2 in the UK charts and Jamiroquai into the limelight globally.
This edition includes an updated sleeve for 2021, new liner notes by
Jamiroquai frontman JayKay and the Dimitri From Paris Remix Radio Edit of Cosmic Girl, previously only available physically in limited numbers on Dimitri From Paris’ own label.

With the release of SOUL FOOD 3, KOGNITIF exquisitely completes the SOUL FOOD trilogy and invites you for this feast he started 7 years ago.

Your host is generous and consistent: Punch for starters, chill for the main course and groovy cake for dessert, all of which sprinkled with Electro vibes, Hip-Hop beats, soul and blues. The basics of any healthy diet.

Chef's special suggestion ?

...Have some more Good Mood !

This release is a special one; a moment where the two halves of the Mr Bongo record label unite, our heritage re-issues and our contemporary artists roster.

Minoru Muraoka’s 'The Positive and the Negative’ is a firm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese flute, flex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative’ featured on the 1970 'Bamboo’ album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record’s cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne’s Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.

"Minoru Muraoka’s ‘Bamboo’ LP has long been a fixture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo’s extensive catalogue of reissues, and certainly the most influential to Surprise Chef; The Positive and the Negative’s cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records. We’ve borrowed an element or two from the tune over the last few albums (such as the percussion on ‘The Limp’), so it felt right to go head first into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo’s attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were finally happy. We stuck a fork in it late into the night, satisfied that we’d had our best crack at paying homage to a masterpiece by the great Minoru Muraoka.” - Surprise Chef

Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect. The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein flows richly through both instruments

The 7" vinyl format was the right fit for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7” version to accompany Surprise Chef’s new take.

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.

They’d go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squad’s breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.

Here, there’s a sprinkle of drums from Kool & The Gang’s oft-sampled ‘Jungle Boogie’, paired with a very recognisable portion of Eric Clapton’s ‘I Shot the Sheriff’. And that’s pretty much it – the two samples are linked, looped and left to their own devices. Such was Erick and Parrish’s confidence in their own rhyming ability and strong voices, no further embellishment was needed.

That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts – the ‘Jane’ series – and notable guest verses, this was the third straight single of pure brag rap. Two MC’s, one beat, a whole heap of lyrics about how good they were. It’s something you can’t do unless you truly are special, and this duo most certainly were.

Paired with the classic instrumental version, which didn’t make it to the US 7” releases – it’s only on a hard-to-track-down French 7” pressing from 1989 – this this is a timely reminder of how breathtakingly perfect hip-hop can be.

After their first album “Vertigo” (2018), the Paris-based musicians making up BLOW are back with the indie-pop album “Shake the Disease”. Produced by Crayon, this surprising new chapter is a collec- tion of purer, more organic sounds with a somewhat 70’s/80’s tilt. A return to basics, one that doesn’t turn its back on reality.

The changes are radical as the need was strong to surprise people including themselves, to think outside the box. They went for radical changes: a new method of song writing, a new musical genre, a new way of working, ... But the group’s fans should be reassured: even if the electronics have given way to a more rock-inspired sound, and the chords are a bit richer, and even if the bass, the driving element of each song, is stronger than ever, “Shake the Disease” is pure BLOW.

In terms of the lyrics, a common thread appears: duality. Without ever giving way to schizophrenia, this duality of “what I’d like to be” versus “what I really am” stands at the center of the chessboard. Legitimate and healthy questions give rise to life changes that almost all of us ask ourselves when en- tering into our thirties, just like the members of BLOW. Coming to terms with all this mentally without losing our instincts or our spontaneity, is the guiding idea behind this second album.
Coming back strong, BLOW started dropping uplifting single and live session «Full Delight» and more recently «One Life», both supported in France and abroad by Greenroom, Tsugi radio, The Inde-pendent, Ones to Watch, Hotmix, Brain, Vanyaland, Kulturnews, Laut.de, DetektorFM...
This third extract is «Shake The Disease», a laid back single coming along with a COLORS session including breathtaking performances from Quentin (singer of BLOW) and the only featuring of the album, praised female songwriter and singer Anna Majidson from French duo HAUTE (also featured on COLORS a few years back).

The Hope Conspiracy are a legendary hardcore band from Boston, MA. "Death Knows Your Name" is their landmark album originally released in 2006. Recorded by Kurt Ballou at God City Studios, it is a powerful chapter in the band's recorded legacy. From the haunting first notes of "They Know Not" to the Earth shaking "Stolen Days", the unrelenting rage of the album is undeniable. From musicianship to presentation, "Death Knows Your Name" still stands as a high watermark for the genre. The "Deluxe" edition features the classic eleven song album along with the song "Eurohell". A track previously available on their "Hang Your Cross" EP (now out of press). The physical packaging has also been revamped, featuring a special "Black on Black" printing of Aaron Horkey's incredible artwork for the release.

Soundtrack from Academy Award-nominated actor Ethan Hawke’s 2001 film Songs written by Wilco’s Jeff Tweedy with the score performed by Tweedy and Glenn Kotche Featuring two previously unissued bonus tracks and available on CD and (for the first time) Vinyl. Includes performances by Wilco, Billy Bragg, Robert Sean Leonard, “Little” Jimmy Scott, and more Packaging features new liner notes from Ethan Hawke, Glenn Kotche, and a conversation between Jeff Tweedy and Grammy®-winning set producer Cheryl Pawelski “It was pivotal for me. There was a burst of creativity that continues to this day because I took the last remaining guardrails off of what I’d been willing to allow myself to do.” –Jeff Tweedy The same year of his Oscar®-nominated performance in Training Day, Ethan Hawke made his full-length film directorial debut with Chelsea Walls (starring Kris Kristofferson, Uma Thurman, Vincent D’Onofrio, Robert Sean Leonard, and more). A fan of Wilco, Hawke approached Jeff Tweedy about scoring the film, and Tweedy agreed. Around this time, Tweedy had collaborated with musician and producer Jim O’Rourke (Sonic Youth, Stereolab) for a special live performance. As fate would have it, O’Rourke had been working with Glenn Kotche, and O’Rourke introducing Tweedy to Kotche would lay the groundwork for the trio’s work together on the debut album by their band, Loose Fur. Tweedy also asked Kotche to work with him on an improvised soundtrack to the movie he had agreed to score.













[m] 13. Finale (Extended) [Bonus Track]
[n] 14. Promising [Bonus Track]

Cat Power - vocalist, songwriter, musician and
producer Chan Marshall - releases her new album,
‘Covers’, via Domino.
 Cover songs have always occupied a crucial place in
the Marshall canon, and ‘Covers’ௗcompletes a trilogy of
sorts, following beloved past Cat Power collections
‘Jukebox’ (2008) and ‘The Covers Record’ (2000).
 While she frequently delights and surprises with the
songs she chooses to cover, it’s Marshall’s total
commitment to the performance - imbuing the songs
with a creative singularity that rivals her original work -
that make Cat Power covers so special.ௗ Says
Pitchfork, Marshall can “rearrange a song simply by
squinting at it.”
 Produced in its entirety by Marshall, ‘Covers’ features
fully reimaginedௗsongs by Frank Ocean, Bob Seger,
Lana Del Rey, Jackson Browne, Iggy Pop, The
Pogues, Nick Cave and The Replacements and more,
plus an updated rendition of her own song, ‘Hate’, from
‘The Greatest’ (2006), retitled ‘Unhate’ for this album.
 CD in clear tray in 6-panelled digipack.
 Heavyweight vinyl with full colour labels, printed inner
sleeve and digital download card.
 Press - Reviews in MOJO, Loud & Quiet, Uncut, Record
Collector, HiFi News, Aesthetica. Features in MOJO,
Uncut, Guardian Saturday Magazine, Kinfolk, Adam
Buxton podcast.

Slam collaborate with Hector Oaks, 999999999, Keith Tucker (AKA Optic Nerve), Amelie Lens, Rebekah, AnD & Perc, for a new five part Soma Records project LOUDER THAN CHAOS.

On March 2020 the world was abruptly thrown into collective disarray. The Pandemic stopped almost everything dead in its tracks. No social gatherings, self isolation, a sense of panic and bewilderment prevailed. An industry that had become so dependent on human connection and unity, was suddenly switched off and put on pause for an unforeseeable future.

It was in this climate that The Louder Than Chaos project was born, facilitated by Soma Records head honchos and techno protagonists Slam. A collaborative project with friends, colleagues and contemporaries normally only seen at airports, or events, now brought together under a completely different set of circumstances, allowing for a purposeful connection in a time of disconnect. The focus of the project is built on a powerful mutual participation, remotely constructed over time and fully intended for holding court on peak time dance floors when they inevitably return. That time has now finally come.

The Louder Than Chaos project is a series of 5 releases, on 12 vinyl" & Digital, to be released monthly via Soma Records. Featuring collaborations between Slam & Hector Oaks, Slam & 999999999 Slam & Keith Tucker (AKA Optic Nerve), + more to follow.

Each EP features specially commissioned artwork from German based artist PPP Panic, which consolidates into one constructive piece over the 5 releases.

Slam collaborate with Hector Oaks, 999999999, Keith Tucker (AKA Optic Nerve), Amelie Lens, Rebekah, AnD & Perc, for a new five part Soma Records project LOUDER THAN CHAOS.

On March 2020 the world was abruptly thrown into collective disarray. The Pandemic stopped almost everything dead in its tracks. No social gatherings, self isolation, a sense of panic and bewilderment prevailed. An industry that had become so dependent on human connection and unity, was suddenly switched off and put on pause for an unforeseeable future.

It was in this climate that The Louder Than Chaos project was born, facilitated by Soma Records head honchos and techno protagonists Slam. A collaborative project with friends, colleagues and contemporaries normally only seen at airports, or events, now brought together under a completely different set of circumstances, allowing for a purposeful connection in a time of disconnect. The focus of the project is built on a powerful mutual participation, remotely constructed over time and fully intended for holding court on peak time dance floors when they inevitably return. That time has now finally come.

The Louder Than Chaos project is a series of 5 releases, on 12 vinyl" & Digital, to be released monthly via Soma Records. Featuring collaborations between Slam & Hector Oaks, Slam & 999999999 Slam & Keith Tucker (AKA Optic Nerve), + more to follow.

Each EP features specially commissioned artwork from German based artist PPP Panic, which consolidates into one constructive piece over the 5 releases.

Proper reissue of Ikebe Shakedown’s 2nd 45 Colemine is finally here! Newly remastered and now being pressed at Gotta Groove, the mid-tempo funky burner “No Answer” was an absolute standout track from their debut EP, Hard Steppin’. The flip features the same song, “No Answer”, done by labelmates The Jive Turkeys for a BATTLE RECORD SPECIAL!

The ambient / cross-genres label Concentric Records launches its first solo release as a special edition LP written and composed by the celebrated and influential techno / experimental producer Tobias. It is the first strictly-ambient solo album of Berlin's Tobias. aka Tobias Freund.

Entitled Hall Ov Fame, the 42min. full length album is a rare ambient journey into a sonic world that is full of narrative and cinematic imagination, blurring boundaries between perceived and staged reality, past and future memory.

“I have movies in my head” describes Tobias Freund the source that inspired his new album to fill it with a fantastic life of its very own. Consequently, each of the eight tracks represents a scene out of a fictitious short film, some of them with a claustrophobic and tense atmosphere while others appear light and hopeful on the screen of imagination. What they have in common is an adventurous spirit that is inherent in and played out by three main characters: repetitive electronic and acoustic patterns, voices from far away and field recordings of obscured origin. All the episodes combined introduce this “Hall Ov Fame” as a psyche-cinematic event which resonates with “ambience in its natural shades” to evoke the whole range of sensations that make a proper, suspenseful mind movie.

Tobias. (Freund) is long established as an influential artist and has - since the early 1990s - been working as a professional producer, sound engineer, label owner and strictly live musician. The Berghain resident constantly keeps exploring the vast synth-driven Techno, Experimental and Ambient territories on journeys in-between genres, both as a live act and on his countless releases.
Besides his early solo projects (such as Pink Elln, Metazone or Phobia) he’s also been collaborating with Dandy Jack (as Sieg Über Die Sonne), Ricardo Villalobos (as Odd Machine), Max Loderbauer (as NSI.), Valentina Berthelon (as Recent Arts) and AtomTM to only name a few. With his vast experience, diverse output and interests, Tobias. doesn’t tire to actively push against existing boundaries and explore new areas of electronic music. By this he stands in a long tradition of electronic music, scrutinizing the self while reaching out towards the unknown, approaching sound with an appetite for the new, in the tradition of true innovators.

Hall Ov Fame follows a compilation in three parts that introduced Concentric Records’ roster and exploratory sonic realm over the past year and half, featuring unique and wide-ranging works by (in order of appearance) Pole, Daniela Huerta feat. Cornelia Thonhauser, Samuel Rohrer, Vladislav Delay, Jake Muir, Hotel Neon, Soundwalk Collective, Etapp Kyle, Tragic Selector (Daisuke Tadokoro & Terre Thaemlitz), Kareem Lotfy, Christina Vantzou, Jana Winderen, Echium, Max Loderbauer, William Selman, Petre Inspirescu, Supply, The Waves, HOLOVR, ASWA.

Written and Produced by Tobias Freund at Non Standard Studios, Berlin. Mastered by Tobias Freund. Lacquer Cut by Mike Grinser. Cover Image: TV Caption of Marcello Mastroianni in 'La Città delle Donne' by Federico Fellini, 1980. Artwork by Blackbirds Inc.

For a number of years now, A Guy Called Gerald has largely made music only for himself. But this special EP is borne from Gerald’s unique and long-lasting friendship with Analog Room founders Mehdi Ansari, Siamak Amidi and Salar Ansari. They first met in 2013 when Siamak booked Gerald to play his Analog Room party in Dubai – a leading underground light in the UAE’s then emergent scene. Away from the glossy VIP hotels and expensive bottle service parties
typically associated with Dubai, Analog Room only deals with quality bookings of the caliber of Move D, Roman Flügel, Moritz Von Oswald and the likes. Gerald immediately fell in love with the party. Its strict music-first, no-nonsense policy appealed to him and he’s returned many times over the years.

By then, of course, A Guy Called Gerald’s musical legacy was already assured. The Manchester icon is best known for his 1988 hit single Voodoo Ray – the touchstone of his hometown’s dawning acid house scene. As well as being an early member of 808 State, Gerald embraced breakbeat and jungle, ran his own Juice Box Records label and worked with the likes of Columbia, Perlon, K7! and many other vital labels. His skills on everything from synths to keys, samplers to
drum machines stood him apart then – and still do today.

“This release is based on a real friendship,” Gerald explains. “I feel part of the Analog Room family. Back in the early days, that’s how it was. These days, it’s like, ‘Oh, you’re famous, let’s do something.’ I’m not interested in that. I’m not interested in being a celebrity or living that life. I’m the same as I was 30 years ago, all I care about is the music. With Mehdi, we have spent hours jamming in private in Dubai, we have partied together. We’ve vibed together for so long and he’s shown me new parts of the world I should be making and playing music in, away from the trendy scenes in other places. So this is an exclusive just for him.
I’m not looking at doing anything else with anyone, and the music is just about celebrating individuality rather than trying to fit in anywhere.”

When Iranian-born Mehdi decided to start Moozikeh Analog Room – which translates from Farsi as “the music of the Analog Room” – Gerald was one of the first artists he asked to release on the label. It might have taken some time for Britain’s Dirty Little Secret to materialize, but boy it’s been worth the wait.

Says Mehdi, “The magic comes through proper relationships and friendships.
That’s why Analog Room worked. It was a great room, an amazing sound system, with amazing artists doing their thing. Bookings were so on-point because we had agents around the world, on the dancefloors, spying up artists who were killing it,
and Gerald was one of them. He was a perfect fit from the first gig and our friendship grew from there. He’s always been very kind to me. We have this common language of music without any bullshit, and that is where this EP comes from.”

The EP is a mixture of different things. Some of it is unreleased material from the vaults revisited, some of it is brand new. It opens up with the devastating Old Skool – a writhing, physical track with naughty bass. The drums hark back to Gerald’s early days of making jungle but reimagined through a modern perspective. As the synths spray about the mix and the percussion bounces atop the jostling drums, muttered vocals draw you in deeper. Sugoi is an experimental
track that fuses ambient synth design with the spacious and eerie atmospheres of jungle. Nimble drums get you on your toes as the spangled synths twist and turn in all directions. It is a thrillingly original, impossible to define track.

Flash Fight is built on a captivating rhythm that sits in the area where house, techno and jungle intersect. It is warm and cavernous, physical yet elegant as it bounces on rubbery kicks and lithe synths roam in and out of earshot. Perfect for those sweaty, cozy back rooms, it’s another masterclass from Gerald. Closing out the EP is False Religion, a deep-rooted house track with elastic drums and
haunting, wispy pads. As a subtle acid bassline rises and falls way down below,
Gerald’s own mystic whispers leave listeners hypnotized.

Following on from Analog Room co-founder Salar Ansari’s debut release on the label, this EP is a statement of intent. More releases will follow from some of Analog Room’s most frequent international guests, but only when the time is right. Moozikeh Analog Room is a label of love, one that is focused on putting out the best possible music at all times rather than chasing hype.

A timely reminder of why A Guy Called Gerald is one of the world’s most enduring electronic artists.

Parlophone Records/ISO Records are proud to announce TOY:BOX. The previously unreleased TOY album will be released on 7th January 2022, the day before David Bowie’s birthday. Available in six 10” vinyl versions, TOY:BOX is a special edition of the TOY album. The ‘capture the moment’ approach of the recording sessions are extended to the sleeve artwork designed by Bowie featuring a photo of him as a baby with a contemporary face. The package also contains a 16-page full-colour book featuring previously unseen photographs by Frank Ockenfels 3.

TOY was recorded following David's triumphant Glastonbury 2000 performance. Bowie entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971. David planned to record the album ‘old school’ with the band playing live, choose the best takes and then release it as soon as humanly possible in a remarkably prescient manner. Unfortunately, in 2001 the concept of the ‘surprise drop’ album release and the technology to support it were still quite a few years off, making it impossible to release TOY, as the album was now named, out to fans as instantly as David wanted. In the interim, David did what he did best; he moved on to something new, which began with a handful of new songs from the same sessions and ultimately became the album HEATHEN, released in 2002 and now acknowledged as one of his finest moments.

The monumental fourth album from Pittsburgh’s heaviest…’Absolvere’ takes a dark conceptual journey into the realm of the human mind and the modern condition. With a pulverising production from Christian Donaldson (Shadow of Intent, Cryptopsy, Ingested) and a beautiful striking red & black artwork, the standard edition is available in 3 variants of vinyl, along with a jewel case cd. To add some spicy sauce, the band have also added two variants of a special ‘Crimson’ edition of the album artwork - featuring two special vinyl variants and an Amaray box cd.

The monumental fourth album from Pittsburgh’s heaviest…’Absolvere’ takes a dark conceptual journey into the realm of the human mind and the modern condition. With a pulverising production from Christian Donaldson (Shadow of Intent, Cryptopsy, Ingested) and a beautiful striking red & black artwork, the standard edition is available in 3 variants of vinyl, along with a jewel case cd. To add some spicy sauce, the band have also added two variants of a special ‘Crimson’ edition of the album artwork - featuring two special vinyl variants and an Amaray box cd.

The monumental fourth album from Pittsburgh’s heaviest…’Absolvere’ takes a dark conceptual journey into the realm of the human mind and the modern condition. With a pulverising production from Christian Donaldson (Shadow of Intent, Cryptopsy, Ingested) and a beautiful striking red & black artwork, the standard edition is available in 3 variants of vinyl, along with a jewel case cd. To add some spicy sauce, the band have also added two variants of a special ‘Crimson’ edition of the album artwork - featuring two special vinyl variants and an Amaray box cd.

Chìsake Algonquin: to chant; to conjure; to cast a spell; this generally involves a shake-house, or shaking tent, in which the conjurer goes into a trance; the conjurer then has an out-of-body experience, going into the future to predict coming events, or into the past; as well as going into any locality in the universe to seek out someone or something generally practiced for ancestral divination.

The unaccompanied flute pieces within this album are adaptations of Anishinaabeg shaking tent chants. The Anishinaabeg also known as Anishinaabe are a group of culturally related Indigenous peoples that reside in areas now called Canada and the United States. They include the Odawa, Saulteaux, Ojibwe (including Mississaugas), Potawatomi, Oji-Cree and Algonquin peoples. The word Anishinaabeg translates to "people from whence lowered". The Anishinaabeg origin myths describe their people originating by divine breath.

The shaking tent or conjuring lodge was the setting for a divinatory rite performed by specially trained shamans otherwise known as Chìsakewininì. During the shaking tent ceremony the Chìsakewininì would construct a special cylindrical framework typically of birch or spruce uprights planted in the ground with respective wood hoops to bind it together. This created a tensile structure of which birch bark, deer skin, or cloth was used as a covering. Rattles of caribou and deer hooves, or cups of lead shot, were tied to the frame. The floor was usually softened with freshly cut spruce boughs. The vertical axis of the shaking tent represents the realm of mediating beings, while the horizontal axis the earth or world of humans. The Chìsakewininì would enter the shaking tent at night and once inside would not be visible from onlookers. The singing of chants and drumming would summon the Chìsakewininì's spirit helpers, whose arrival was signified by animal cries and erratic tent shaking. During this transcendent state, the Chìsakewininì could dispatch these spirit helpers or Manidò to distant regions to answer questions from the onlookers about the most auspicious places to hunt, the well-being of a distant relative, and what would happen in the future.

The chants were usually sung using vocables before, during, and after the Chìsakewininì entered the shaking tent. Like many other similar divination ceremonies, singular or collective, the opening chants begin lyrically. They gradually turn to more reductive abstract structures midway and then end in lyrical chants. This symbolizes the performer and listener leaving the external literal world, entering a more abstract state of mind, and then returning. Traditionally all songs were carved on birch bark for record-keeping with mnemonic pictographs or other marks for future use. Tally mark clustering, sometimes used for song-keeping throughout the Anishinaabeg, is used for this album's track titles and numerical sequence.

The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear teeth, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in the middle tracks traditionally represented the "throat rattling" vocalization of the tonic note or sometimes known as the horizon of which the melody floats off of. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with the Chìsakewininì ceremonial actions. All songs are repeated seven times to signify the seven sacred directions: east, south, west, north, above/sky, below/earth, and center.

Ever-evolving Australian outfit The Possé debut on cult deep house label Pulp with Moods & Vibrations. Their fresh new four-tracker includes a remix from Space Ghost.

Andrew Elston and Ross Ferraro are the core members of The Possé, but the group often expands or contracts with various other musicians. Since 2017 they have released on the likes of Plastic World, Ken Oath Records and Kolour LTD, and bring plenty of Southern Hemisphere heat to all their productions.

'Parting' opens up with plenty of soulful Detroit house flavours. The dusty drums get you in the groove while subtle acid and silky pads bring a feel-good, sun-kissed vibe. Remixer Space Ghost is Sudi Wachspress, a real album specialist who has released on Tartelet and Apron Records. He has a uniquely lo-fi house sound that draws on funk
and soul. This remix is a late-night jam with gorgeous trumpet motifs and scuffed-up drum patterns all finished off with warming sunset chords.

Then comes 'In Focus', a brilliantly loose and jazzed-up jam. The skipping drums are run through with playful keys and humid chords that cannot fail to bring the party. 'Prime Mover' is a little more direct and dynamic but no less heartfelt, with more expressive melodies and infectious drums. A liquid Mix of 'Prime Mover' layers in fatter bass and more crisp percussion to take you to another level. Moods & Vibrations is an EP of rich, musical house grooves that are overflowing with soul.

Soul4Real bring you the last 45 in their trio of previously unreleased Jimmy Gresham Playground Studios recordings from the mid-70’s; a perfect tribute to a great but under-recognized.
“A Million Things” has been a huge collaborative effort, meticulously pieced together in 2020 from an unfinished vocal track. Jimmy’s trademark rich, velvet voice, imbued with soul and inflected with a large pinch of southern grit, has been complemented perfectly by the addition of multitalented Marc Franklin’s evocative vibes, horn and string arrangements. Clayton Lancaster laid down the gorgeous, choppy guitar licks which drive the whole mid-tempo groove, and the absolute pinnacle is formed by the glorious, soaring backing vocals of Jimmy’s sister, Mary.
A recording that sounds as though everybody had been in that same Florida studio in the mid-70’s, bouncing off each other’s talent, on a day when they could feel the electricity in the air and they knew something special had been created.
Flip it over to find Jimmy in a more down-home style on "No Way to Stop It", a worthy track getting its first release on vinyl thanks to the efforts of the Soul4Real team.

As debut on his own label Hyperjazz Records, with 'The Great Oxidation EP', electro-shaman Khalab comes back to his natural habitat: the dance floor. With these three instrumental tracks, the visionary artist aims to drive the listener on a backward journey, down to rediscover the most ancestral human rite: to dance. A return to the origin in a radical way to reach a brighter future, but also a bridge for another world - a new space where meet new life forms and uncover new feelings and new consciousness. To embellish this EP, the presence of two very special collaborations.

His music evolution is a seamless journey – from the most ancestral tribes to the unexplored cosmos; from the black jungle to the skyscrapers; from the remotest subconscious to the furthest and real projection of future Africa. His wide-reaching musical tastes can be heard regularly on his monthly Worldwide FM show, Love from Rome. Already working on a new record ready in 2022, Khalab pulls out of his laboratory the first experiment with this EP.

Now Available On Cassette Tape! Music By Madlib Arranged By Kieran Hebden. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieran Hebden AKA Four Tet

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Venezuela’s Confidential Recipe drops ‘The Bridge EP’ on Radio Slave’s Rekids this December.

Following two stand-out EPs on the techno-focussed Rekids Special Projects throughout 2021, the Venezuelan-born, Bogota-based Confidential Recipe readies his debut appearance on parent-label Rekids. With three killer originals, including a collaboration with Manao and accompanied by a remix from Gene Richards Jr, the EP solidifies Confidential Recipe’s growing vitality in the South American techno scene and beyond.

‘Dance’ leads the ‘The Bridge EP’, with commanding vocals, organ licks and knocking drums preceding a dramatic tempo change in the breakdown. Fresh off the back of releases Truncate’s WRKTRX, Gene Richards Jr flips ‘Dance’ into a funk-laden techno pumper, with the vocals sliced and manipulated around fresh dub techno inspired chords.

On the flip, ‘Come (Dub Mix)’ kicks off the B side, marrying shimmering pads, razor-sharp kicks, and trance-inducing low end for a deep and rolling cut. Rounding out the EP is ‘Come (Breaks Mix)’ produced in collaboration with Berlin-based Manao, and sees the duo add dense breakbeats, rave stabs, and heaving
sub hits over elements of the original for a rowdy affair.

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Repress!

‘The Nearer The Fountain, More Pure The Stream Flows’, the new studio album from Damon Albarn, is released by new label home Transgressive
Records.




‘The Nearer The Fountain, More Pure The Stream Flows’ was originally
intended as an orchestral piece inspired by the landscapes of Iceland.
This last year has seen Albarn return to the music in lockdown and
develop the work to 11 tracks which further explore themes of fragility,
loss, emergence and rebirth. The result is a panoramic collection of
songs with Albarn as storyteller. The album title is taken from a John
Clare poem Love and Memory.


The deluxe version of the album takes the form of a casebound book
with additional photography, original scanned lyrics and artwork from
Damon, alongside a clear vinyl version of the album and a bonus 7”
featuring an exclusive song from the recording sessions, plus a high
quality digital download. Also available on black vinyl and cassette.
A recent special Globe Theatre performance in London sold out
immediately and was streamed globally to 72 countries around the world and received rave reviews across the board.