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2025 Repress

Tazz is back on wax after a short break with three high quality grooves produced over the last few years. The local DJ/Producer and dear friend of the shop took some time out to start a family after a serious stretch of releases on labels Underground Quality, Tsuba, New Kanada and his own Infected Rhythms.

We are overjoyed to present ‘Razmattaz’, a serious 12” for your crate & the return to form of a top notch music maker :-)

T1000 kicks it off, taking up the whole A side for an 11-minute ride that could just keep on thumping. Deep & dubby Techno to lock the movers and shakers in an extended moment of gentle intensity.

TWA, short for Techno With Attitude, has Tazz going at you with an anthem for bringing down the walls! May we recommend it for high volume play, working the kick bins and getting the tweeters singing.

Underground 5 is the House jam to tip the scales. A collaboration with long time friend Bacanito. You can feel the chemistry was right on the day they laid it down. Play it out, and let us know how it goes?

Mixed by Christian Pronovost (B1) & Marcelo Cruz (A, B2).

Mastered by Miguel Graça.

Album was made in two version (with two different covers). Classic black vinyl and limited (hand numbered 100 copies) with color vinyl. Both versions has 180g vinyl records.

Himalaya Collective is probably the biggest crew of beatmakers in Poland (more than 30 official members). Collaborations are the theme of this third album for U Know Me Records, resulting in a multi-genre album that showcases Himalaya Collective's strength in all its glory.

"After two years since "Latawce", we are back with our third vinyl album released by U Know Me Records. We have been working on a unique, fully collaborative project for over a year. Each track is a result of cooperation - without restrictions on the choice of artists and collaborators.

The idea was simple: each member of the collective was to enrich their track with the vision of another person. They could be producers, vocalists, instrumentalists - both from within the collective and from further corners of the world. This is how a network of artistic connections was created, which reflects the way in which Himalaya Collective has been growing since 2016 - as a team united by passion, inspiring each other and involving other exceptional people in cooperation.

Thank you for your patience, see you again."

Album was made in two version (with two different covers). Classic black vinyl and limited (hand numbered 100 copies) with color vinyl. Both versions has 180g vinyl records.

Himalaya Collective is probably the biggest crew of beatmakers in Poland (more than 30 official members). Collaborations are the theme of this third album for U Know Me Records, resulting in a multi-genre album that showcases Himalaya Collective's strength in all its glory.

"After two years since "Latawce", we are back with our third vinyl album released by U Know Me Records. We have been working on a unique, fully collaborative project for over a year. Each track is a result of cooperation - without restrictions on the choice of artists and collaborators.

The idea was simple: each member of the collective was to enrich their track with the vision of another person. They could be producers, vocalists, instrumentalists - both from within the collective and from further corners of the world. This is how a network of artistic connections was created, which reflects the way in which Himalaya Collective has been growing since 2016 - as a team united by passion, inspiring each other and involving other exceptional people in cooperation.

Thank you for your patience, see you again."

The very young band from Bilbao, Head Holes, present their second full-length album, 'Requiem'. A concept album at 45 RPM, in which the narrative rides on the back of 90's punk, grunge and hard rock. They are an ambitious reality that will surprise fans of previous generations and are the great Basque hope of rock'n'roll. After releasing their first album 'Decade of Decay' in 2022, Head Holes decided to explore new artistic horizons by working in an unconventional way. Therefore, they set out to do something that few people in the Basque Country had tried before: a conceptual narrative album, where every detail matters, but where each track can also be enjoyed independently, without the need to know the backstory. None of them is over 21 years old. Eder del Valle (vocals), Naroa Esturo (drums), Xabier Aguado (guitars) and Jon Mikel Batiz (bass) make up a band without musical prejudices combining influences from 90s punk, grunge and hard rock, among others. Their hard-hitting, hard-hitting live shows, full of attitude and followed by an ever-growing fan base of their generation, are a must-see. They have also attracted the attention of 'older' people who think that Head Holes sound like what they have been listening to since they were their own age. An ambitious reality embodied in Requiem, which confirms them as the great hope of Basque rock'n'roll.

Impressed are honoured to be working with JET to press and release their first new music in 15 years. The single, Hurry Hurry, which we first heard on their tour last year, is a belter.

The B-side of the single is a song called Un’avventura, a cover of a cover: Wilson Pickett’s version of Un’avventura performed by Lucio Battisti at the 1969 Sanremo Music Festival. It’s sung in half Italian/half English and is a nod to front man Nic Cester’s time spent living in Italy over the last 15 years.

We sold out of a run of 200 orange 7"s in a day in May. And the band sold numbered black 7"s on their recent Australian tour, and there will be a further 20 sold per show on their forthcoming Italian tour. (These black vinyls are numbered 1-500).

This pressing (IMP036X) is a of a numbered black 7". The sleeve is uniquely numbered on the back cover. It is pressed in Europe and numbered 501-1500.

Hurry Hurry indeed!

"Les voyages de l'âme" ("The Journeys of the Soul") is Alcest's third album and contains the quintessence of the group's creative work to date. While "Le secret," the debut EP from 2005, was the key to the world of Alcest, "Les voyages ..." unites everything that characterises Alcest in terms of concept and music. New colour available.

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

he Clockworks aus Irland, ansässig in London, verknüpfen Pop-Sensibilität mit lauten, von Post-Punk und Rock beeinflussten Stilen. Die Songs ihres Debütalbums wirken prahlerisch und düster, haben aber eine episch-nostalgische Qualität. Thematisch pendelt EXIT STRATEGY zwischen Emotionen, Ironie und Aufrichtigkeit, Seelensuche und augenzwinkerndem Fingerzeig. The Clockworks verbinden poetische Selbstbeobachtung mit witzigem Küchendrama, um etwas Intensives, aber Verspieltes zu schaffen. Aufgenommen in den Abbey Road Studios und Love Electric mit Hilfe der Produktionsklugheit von Bernard Butler (Suede), erscheint es unabhängig auf dem bandeigenen Label Life And Times Recordings.

- 'Wer auf Post-Punk-Acts im Stile von Fontaines DC und The Murder Capital steht, kommt aktuell an The Clockworks nicht vorbei.' - beatpol.de

'It was such an honor to play on Dwight Trible's album.

His singing has inspired me since I was 15 years old. He has a way of bringing such a unique life and feel to every song that he sings.

His voice has power, soul, and beauty, qualities that all us horn players strive for.

Thank you Dwight for having me on this masterful piece of art'

Kamasi Washington (early 2019)

The godfather of the LA sound, and possibly the World's greatest living Jazz Vocalist, returns with his masterpiece.

Timeless, yet made for our times - this is a double album of spiritual jazz, soul, gospel, and psychedelic rock.

Recorded at LA's Sunset Sound, and backed by a band of legendary musicians (including Kamasi Washington), this is a
work of true beauty. A tour de force that reveals Dwight's kinship with Spiritualism.

Musicians:

Dwight Trible vocals
Kamasi Washington tenor sax
Mark de Clive-Lowe piano
John B. Williams double bass
Ramses Rodriguez drums
Maia harp
Miguel Atwood Ferguson viola
Derf Reklaw percussion
Carlos Nino hand percussion

Reissued on vinyl for the first time, LP includes Japanese OBI-Strip) Soulful live work from the legendary Kashmere Stage Band – a small-time Texas ensemble from the 70s, but one who managed to record a heck of a lot of great records in a few short years!

For the first time ever you can get both Copse EPs 'Mara | Mondrem' and 'Old Belief | New Despair' on limited edition vinyl!Copse began life in 2020 as as an exchanging of musical ideas between guitarists and work colleagues Phil Vernon and Craig Mallard during the lockdowns enforced by the global pandemic

First vinyl reissue since its original release in 1980! Track A2 - Cloudy is featured in WAMONO A to Z Vol. I - Japanese Jazz Funk & Rare Groove 1968-1980 (Selected by DJ Yoshizawa Dynamite & Chintam) compilation. A rich groove crafted by a rhythm section featuring Harvey Mason on drums and eight trombones. This Jazz Funk/Fusion album is a mix of original compositions by Chikara Ueda and covers of Boz Scaggs' tracks.

Writing music, for singer-songwriter and producer Fine, “feels like being entrusted with a secret.” On Rocky Top Ballads, the Copenhagen-based musician’s debut album, these secrets take the form of minimalist compositions that search for glimpses of beauty in the everyday. Recorded, produced, and mixed by Fine, the album is a mystical soundtrack to a captivating songwriter’s explorations of process and intuition.

“The whole album is about the moments when you see a crack in something,” Fine explains, “where you briefly see another side of yourself or of someone you've known forever.”

Fine grew up in Denmark’s rural Northern Jutland; there, her father’s guitar and banjo playing formed the sonic backdrop of her childhood. In the years since, her musical curiosity has led her to work across a range of styles and sounds. In her early twenties, she became part of Danish electronic trio Chinah, which released three albums. You might also have caught her sampled vocals on the joyfully rollicking Two Shell song “Home,” from 2021. Then, last year, she — along with Erika de Casier and Smerz — co-wrote three songs for the massive, critically lauded K-pop group New Jeans. Fine is also a part of Clarissa Connelly Canons group back home in Denmark, and writes music under the moniker Coined with composer and songwriter Astrid Sonne.

But Rocky Top Ballads is a turn back towards a more personal, stream-of-consciousness songwriting style. Fine wrote and recorded these songs sporadically over the course of the last few years. In light of Chinah’s collaborative, piecemeal production style, Fine craved a more organic, intuitive process for these songs. Her work on the record combines sample-based production with the sounds of instruments she and her collaborators could hold in their hands, ones that inspired free-flowing improvisation: electric and acoustic guitar, even the Ensoniq keyboard that was in her childhood home. The resulting songs are equally inspired by the country and folk of her childhood, the hazy beauty of Mazzy Star, the avant-garde pop of Dean Blunt, and the songwriting of ’90s singer-songwriters like Suzanne Vega.

Fine describes her songwriting process as a “magical thinking method”: being in contact with the present moment and pretending as if she already knows the song she’s about to write. Many of the songs on Rocky Top Ballads use the original takes of Fine’s vocals, an attempt to capture a song’s initial essence and avoid disturbing the song’s generative idea as much as possible. You can hear that well-preserved spark on songs like “Losing Tennessee,” a minimalist and wistful reflection on the inherent loss and change of growing older. She wrote other tracks, like the piano-led “Whys” and the woozy “Coasting,” through a process of cutting and layering her improvisations, carefully merging multiple musical snippets into newly seamless compositions. And the stunning closing track “A Star” is the product of a slow process of evolution: beginning as an understated expression of sincerity before dissolving into a rich, distorted guitar-driven exploration.

As a songwriter and producer, Fine’s work often peers into the universes of experience that can be hidden inside a fragmentary moment. Sometimes she explores this literally — as in “Days Incomplete,” which she built off a short sample from “A Star.” This impulse — to zoom in, to recontextualize, to excavate — threads throughout her lyrics, too. What happens, her songs ask, when we pay close attention to those everyday images and physical realities we might otherwise ignore: the sky, the rain, the sun, the sea? On the spacious and swoony “Big Muzzy,” with its gentle sway and Cocteau Twins-inflected vocals, Fine sings about watching the “summer turn blue”; the grooving, propulsive “Remember The Heart” is a love letter to the sea where she grew up. In her airy voice, Fine traces meandering melodies that continually unspool with fresh insights.

A particular mantra guided Fine’s songwriting throughout the creation of Rocky Top Ballads: “Everything has potential.” In these songs, small moments are worthy of deep contemplation, and gentleness can evoke worlds of emotion. The resulting songs offer a gift of momentary pleasure, flowing and unhurried as a gentle breeze.

Marissa Lorusso

New Source gladly welcomes Juan Bozzolasco aka Juan Dairecshion, unveiling a four track in which he confirms his innovative approach to electronic music production. His works, full of creativity and unexpected interactions between elements, are shown here in full display. His music is a result of a life-long exposure to some of the most seminal works of dance-floor oriented electronic music, ranging from Chicago’s and Detroit’s House and Techno passing through mid-century American Jazz and avant garde Latin-American music. House music composed by a techno-head and housey techno for your grooving pleasure are unequivocally found in his release.

Following his recent EP, The Circle of Life, on Pushmaster Discs, Milan's rising techno star Maike Depas returns with a brand-new release on his renowned The Innovation Studio Records. Titled “Sexy Devil Horse”, it is a powerful 10-track collection, featuring many iconic international artists from the Hard Techno space such as Etruria Beat’s headmaster Luca Agnelli, Dutch-based sensation OGUZ and the “Demon of hard techno” also known as Michael Katana, as well as Southern Italian talents CHRS and Gianni Di Bernardo.
This release marks a pivotal moment in Maike Depas’ journey to become one of the highest rated talents in the Hard Techno scene. It will also be followed by a key paradigm shift his label’s business model in 2025. For this occasion, Maike has lined up an amazing group of artists to celebrate those who have shared his musical vision along the way.

The title is meant to be provocative and captivating, just like its content: catchy and fresh enough to attract ravers and clubbers from around the world. Its artwork was created by the master Luden Works. It features a plastic female figure with an undefined appearance, yet with sensual curves and a powerful surge of energy, like a wave enclosed in a sphere, representing Maike’s and The Innovation Studio Records’ logos.
From the galloping rhythm of “Sexy Devil Horse” and “Hear The Sound” to the groovy and elegant “Ce Soir” there is an immediate feel about the artist’s singular touch and eclecticism. Same goes for the tangible contrasts which make a key element of this release, where the minimalistic mood of “StarKiller” and its maximalist counterpart “Dark Serenade” carry the listener through a full-spectrum emotional rollercoaster.
Hard Techno and Psy Trance vibes go hand in hand with ‘90s Trance and Rave echoes, creating a blend of recognisable and innovative samples that can resonate with many different types of audience and like-minded artists. This aspect is fundamental in the direction Maike and his team have decided to take.

It all comes from afar: starting with a classical musical background – playing the piano at Conservatory level for many years, including Berlin’s own Funkhaus. This theoretical and practical knowledge, mixed with a long-time passion for electronic music, made it easier for Maike to shape and cultivate his authentic sound since a very young age.

As part of its evolution, The Innovation Studio Records will officially open its doors to new talent and renowned artists starting in 2025. The team’s vision is to create an international reference point for quality and innovation, shaping a brand-new artistic movement based on combining the modern vision of our generation with our cultural heritage from the past, thanks to the team that we put together, both in terms of approach and technique.
It'll be a structure built from the ground up, combining the best of analogue technology in a modern workflow with the highest level of music hardware, audio monitoring and studio design. In their view, there are two types of productions: those that stay ‘inside the box’ and those that get into your heart.

The desire to unite instead of dividing, to join forces instead of competing, is the key to Maike’s success and a real drive to turn the studio lights on every single day. Despite playing a lot with dystopic, cyberpunk-like atmospheres throughout his artistic journey, music doesn’t feel like a means to escape reality for Maike. In fact, it’s quite the opposite.

The definition Maike uses the most to describe what The Innovation Studio Records wants to become is “a mysterious display cabinet”: a place where an artists will never know what emotion will arise or what direction will be taken next. Although hard work, professionalism and common inspiration will ultimately still be its main fuel, a true sense of community and empathy will be crucial to shape the future Maike and his team have in mind for it.
In a very romantic way, the idea is to re-create the same atmosphere from the Italian Renaissance masters’ workshops. Places where different artists - with opposite backgrounds and styles - could all mingle and inspire each other, in order to foster the creation of something unique. A collective effort for a greater good.

About MAIKE DEPAS
Young hard techno DJ-producer Maike Depas (born Michelangelo De Pasquale) has seen the future of music and it’s called metaverse: “In the future it will blow up,” he predicts. “And it’s going to revolutionize the way we experience music.” Bowled over by Skrillex and Martin Garrix by the age of eight, and DJing at smaller Milan clubs by the time he was eleven, Depas went on to study composition and piano at the prestigious

Milan Conservatory before learning ‘life- changing” lessons from the best in the business at Catalyst’s 4-week Advanced Sound Design course in Berlin’s Funkhaus . His production gets inspired by huge 90s trance synths as much as pounding hard techno from artists such as Kobosil, In Verruf and Amelie Lens.
2024 marked the launch of MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of content from DJ sets livestreamed from Berlin’s Teufelsberg and other dystopic locations around Europe to cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of a developing metamorphosis from a flesh-and-bone individual to a mysterious CGI character, Depas is another step closer to revolutionize the dance music scene through the metaverse.

Kokoroko, the London-based contemporary jazz collective, has released their new single ‘Three Piece Suit’ featuring Azekel.

Warm, rich and sumptuous in sound, ‘Three Piece Suit’ is a heartwarming tribute to the Nigerian immigrant experience. An initial draft of the track first began life at Kokoroko’s studio under the working title ‘Get The Message’.

Crackling through the track’s snug and patiently arranged grooves are subtle touches of funk, adding new dimensions to the band's signature afrobeat and jazz sound in a way that recalls the work of Cymande. Further caressing the instrumentation is the incorporation of the Brazilian nose flute and woozy-sounding synth lines, effortlessly transporting the listeners back in time.

The forthcoming EP will mark Kokoroko’s first dose of new music since the release of ‘Could We Be More Remixes’. The experimental and kaleidoscopic sister project to their 2022 debut album ‘Could We Be More’ which upon initial release earned critical plaudits from the likes of The Guardian, The Telegraph, Financial Times, Jazzwise, CRACK Magazine and Downbeat Magazine. The release would also garner their first Top 40 placement on the UK Albums Chart, peaking at No.30.

Enlisting some of contemporary music’s most forward-thinking artists like KeiyaA, Ash Lauryn, Stefan Ringer and Hagan to re-imagine the original album through a club-focused lens, ‘Could We Be More Remixes’ marked the beginning of the band being cast beyond spaces unrelated to the jazz sphere. A signal of their incoming next phase.

To coincide with the release of ‘Get The Message’, Kokoroko will be embarking on a headline tour across the UK which will culminate with a date at London’s O2 Academy Brixton. This will mark the biggest headline show of their career.

2024 Repress

There isn’t many who would disagree with the underlying sentiment that electronic music makes us feel something extraordinary. Much in the same way, the possibilities for creative discourse and cosmic interactivity are accessible to anyone with an open mind. It’s in this place where these possibilities materialise, and it’s in this space where SYNCROPHONE 39 operates within.

You see, you won’t find cleverly constructed adjectives or nonsensical descriptors for the music presented here. It doesn’t need them. The music speaks for itself, much in the same way the artists do. Stojche has been carving out timeless techno for two decades now, working tirelessly without fanfare to enrich a scene that sits close to his heart. Whether that be through releases on his own imprint TANGIBLE ASSETS or the ever expanding a.r.t.less, his trademark sound signature is synonymous with the soul of Detroit. You may be hard pressed to find anyone else who’s been as consistent with this sound over the years as he has. On the other hand, Gerard Hanson aka Convextion has been doing exactly that without fault his entire career. So the combination of these two artists on this release makes perfect sense.

Syncro39 is a celebration of core values in music. Of devotion to a singular obsession crafted over the course of decades devoid of trends or cheap influences, social or otherwise. It’s that unwillingness to compromise and to put everything on the line in the pursuit of the dreaming process that makes this a special release.

One thing is for certain. Those who are inspired by Stojche’s signature original and the timeless journey of Convextion’s remix,
will carry themselves through the smoke and haze into the sunlight as it takes some time for the rush to subside. That’s probably an apt abstract for this release thus far. For the most part though, the narrative for Stojche has only just begun.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Sonanze (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a "sonata" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.

As the composer writes in the original sleeve notes, "I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp)."

Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.

SML is bassist Anna Butterss (Jeff Parker, Daniel Villarreal, Makaya McCraven), synthesist Jeremiah Chiu (Ariel Kalma, Marta Sofia-Honer), saxophonist Josh Johnson (Jeff Parker, Makaya McCraven, Nate Mercereau, Marquis Hill), percussionist Booker Stardrum (Amirtha Kidambi, Carl Stone, Lee Ranaldo, Patrick Shiroishi), and guitarist Gregory Uhlmann (Sam Wilkes, Meg Duffy, Perfume Genius). Their debut album Small Medium Large began as a collection of long-form improvisations recorded during two

separate two-night stands at beloved Highland Park venue ETA, a major development site for the burgeoning new LA jazz & improvised music sound, which unfortunately closed its doors permanently at the end of 2023.

The venue, perhaps best known outside of LA for Jeff Parker’s 2022 album Mondays at the Enfield Tennis Academy, was the perfect location for the start of SML, especially given that both bassist Anna Buterss and saxophonist Josh Johnson are in the quartet featured on that record. Small Medium Large was engineered and recorded in stereo direct to Nagra by Bryce Gonzales and compiled, arranged, and edited with additional production, recording, and
studio composition by SML.

While editing, chopping, and rearranging stereo mixed improvisations is hardly a new concept (for a modern and relevant example we can look to Makaya McCraven’s output on IARC) these results are a stunning expansion of the Teo Macero / Miles Davis editing concept explored on classics like Bitches Brew, On The Corner, and Get Up With It. Stylistically though, these recordings have more in common with the proto trance repetitions of Harmonia, and with Holgar Czukay’s re-assemblage technique used in his work with Can. Throw in a supremely intuitive utilization of Susumu Yokota’s floating patterns polyrhythm concept and we have a truly entrancing take on time-clocked electronic rhythms augmenting with live percussion, yet maintaining that elusive human sway.

South London’s James Massiah returns to Jon Rust’s Levels imprint with the highly anticipated follow-up to the 2019 underground hit ‘Natural Born Killers’ EP.

The six-track EP ‘True Romance’ is the artist / poet / DJ / producer's richest work to date, autobiographically charting the peaks and troughs of 21st century love, life and relationships.

Massiah’s rap leanings ride over his signature neon productions, taking in an arc of influences including dancehall, dub, acid house, grime and left field pop.

Gritty and shimmering in equal measure, this is essential for devotees of the Dean Blunt, Lord Tusk axis, or anyone switched on to the stream of rap bubbling up from the UK right now.

Heavy rotations from Benji B, Jamz Supernova, Shy One & Scratcha DVA.

A vital release for 2024.

Collected by Charles Aznavour is a wonderful collection of hits and classics by the French chansonnier, that touches your soul at every moment. It’s an overview of his work during the sixties, seventies and duets with Johnny Hallyday on “Il Faut Savoir” and with Frank Sinatra “Young At Heart”. Also his English versions of “How Sad Venice Can Be”, “The Old Fashioned Way”, “She” and four more English songs are included on this deluxe Trifold 3LP album.

In the early 1950s a man of short stature attempts to win over his audience. With a hoarse voice he delivers songs that do not catch on. People jeer at him. Tomatoes fly through the air. The Frenchman with Armenian roots slinks off the stage, but does not quit. Ironically, the song that makes him a household name is the song in which he recalls his agonising trial. The audience reacted indifferently when Charles Aznavour decided to try out his new song on stage. But when he went on to greet the audience for one final time they all stood and gave him a thundering standing ovation.

In the sixties, hits and classics succeed one another. Nobody is bothered any more by his husky voice, by his small stature or his rugged characterful face. The croony “For Me Formidable” (1963), the heart breaking “Et Pourtant” (1963) and the nostalgic “Hier Encore” (1964) confirm his standing as a fan favourite. “La Bohème” (1965) and “Emmenez-moi” (1967) turn Aznavour into a superstar. In “La Bohème”, there are impressionist painters strolling in the shadows of the Sacré-Coeur, the compelling “Comme Ils Dissent” (1972) is the first chanson after Vichy France to overtly endorse homo sexuality and in the present “France Of La Manif Pour Tous” (the movement that opposes gay marriage), does it again to sound particularly topical. “Camarade” (1977) was about the nomenklatura, the ruling elite in the Soviet Union and is a social and historical topic. “Avec Un Brin De Nostalgie” is an Aznavour grand cru, maybe even the best he has made over the last thirty years.

Charles Aznavour Collected is available as a limited pressing of 1000 individually numbered copies on gold vinyl. The package includes a 4-page booklet with liner notes and photos.

The prolific, virtuosic original Bjarki Sigurðarson returns to the concept album format, with ‘A Guide To Hellthier Lifestyle’. It’s the first LP to be released on Differance.

‘A Guide To Hellthier Lifestyle’ explores the psychological landscape of contemporary social issues, offering a sideways rumination on lifestyle dilemmas and wellness obsessions, presenting itself as a response to the modern condition. It combines storytelling with innovative sound textures – encouraging listeners to pause and contemplate the absurdities of contemporary life. Neither a critique nor an endorsement, it represents an honest exploration of our world through Bjarki’s sonic lens, gleaming a heart of darkness, but eventually finding light.

The album utilises hyper-stereo techniques, soothing melodies, complex audio structures, AIgenerated voices and sampled vocals – influenced by Coil, Genesis P- Orridge, and Paul Lansky. Bjarki investigates how specific frequencies can impact consciousness, awareness, mood, and mental state, thereby influencing our perception of reality. His vaporous sound design provides a listening experience that bridges the physical and imaginative realms; sometimes placing the listener in contemplative sanctuary, and at others making them lost – somewhere strange, uneasy, disconnected.

Bjarki on his Guide To Hellthier Lifestyle

“This new album has been two years in the works. It’s sort of my take on all the social weirdness and wellness obsessions happening right now. It kicked off with a track I started in California – the story of a soul that got born into the wrong womb. During that time, I was noticing more and more of this whole ‘wellness religion’ everywhere – people trying to sell you ‘good vibes’ and random people offering you life coaching sessions on Instagram who maybe have less life experience than a houseplant. All these apps that track our every move; it’s like they’re repackaging control and calling it ‘self care’. Capitalism in yoga pants. Thats when I started putting ‘A Guide To Hellthier Lifestyle’ concept together. A never ending, self improvement rabbit hole. We are all being sold this idea that we are not quite enough and we need to buy our way out to being better.

At one point, I took a break from the album and started working on another album full of satirical speeches, AI generated voices, where I create my own voices and type in some ideas of speeches, taking the piss out of wellness gurus and life coaches. I messed a lot with these AI voice generators, creating these deep, faux serious monologues. Proper weird stuff, but it cracked me up. Reminded me of the early days, when I was 13, making tracks on Fruity Loops, mucking around with text-to- speech generators. After the break I came back to finish ‘The Guide’ on a much deeper level.

I moved part of my studio to Latvia and continued in the countryside for few months. I realised that I just wanted something beautiful. So, yeah, this album is all of that. It’s spiritual, bits and pieces from the past, all these weird cultural moments, and whatever strange places my head goes. It’s a reflection, a rebellion, a bit of a piss take. But mostly, it’s just me, doing what I do.” - Duncan Clark

The album will be released only in its entirety, December 13th digi, with no advance singles.

Les Disques Bongo Joe is reissuing Au Revoir, the debut album by Société Étrange, originally released in 2015 on the Lyon-based label S.K. Records, and now considered a cult classic. This Lyon trio, composed of Antoine Bellini (electronics), Romain Hervault (bass), and later joined by Jonathan Grandcollot (percussion), explores a minimalist instrumental soundscape, where repetition and tension play a central role.

Au Revoir was created with a raw and intuitive approach, mostly composed during the group’s earliest days. At the time, Antoine and Romain were working as a duo, experimenting with drum machines and electronic sounds inspired by the post-punk of the 80s, the robotic grooves of Neu! and Cluster, and the DIY spirit of early hip-hop. The result is a music that is both hypnotic and introspective, where the presence and absence of sonic elements balance with minimal precision. Between electronic layers and winding bass lines, the tracks move forward like on a foggy road, uncertain but captivating.

For this reissue, Société Étrange offers two new recordings. One of them is a revisited version of Voiturin à Phynance, renamed Voiturin à Fifinance for the occasion, with Jonathan Grandcollot now fully integrated into the group. His percussive style, both organic and melodic, has profoundly transformed the group’s sonic dynamics, adding richness and texture to this new version. The previously unreleased track Blanchard completes the edition, offering another facet of their universe, more spontaneous and free.

This reissue is more than just a re-release of an out-of-print album. It is a testament to the evolution of Société Étrange, a group that blurs genre boundaries, seamlessly blending post-punk, krautrock, dub, and electronic minimalism. With Au Revoir, the trio crafts a singular instrumental sound, where each note seems to carry a unique weight and intention, borrowing equally from abstraction and narrative.

Soul Brother Records present two rare Scepter/Wand disco classics on one limited edition 12” single for Record Store Day Bobby Moore was a singer, musician and bandleader from New Orleans. He worked as a writer and arranger from the 1960s to 1980s, “(Call Me Your) Anything Man” one of only a handful of solo 7” single releases. The 12” version has never been commercially released before, it’s prior existence in this format has only been on acetate. Legend has it that the one acetate was cut at the time because when Tom Moulton mastered the record in 1975, the studio had run out of 7” parts so made it a 12”. The quality sounded so good the 12” single was born!
Sweet Music were the vocal trio who sang background vocals with KC & The Sunshine Band. This is one of the few records ever remixed by West End legend Mel Cheren.

A few years ago, Angel Olsen quietly formed somethingscosmic, a new imprint and a home for Olsen to have “the flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar.” Somethingscosmic’s second release, ‘Cosmic Waves Volume 1’ is a compilation reimagined as a dialogue; side A features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each song, unsurprisingly, illuminates a new artist Olsen finds spectacular. Hearing Olsen refract the artists’ songs back to them reveals the depth of Olsen’s imagination, while spotlighting multiple exciting artists at work.

“As someone that emerged into the music scene through a small tape label,” says Olsen, “I’ve wanted to continue the spirit of discovery and of my debut release, ‘Strange Cacti’, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,” she continues. “We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.”

The artists on “Cosmic Waves Volume 1” draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford’s magnetic growl and guitar-god heaviness; Coffin Prick’s reckless, psychedelic fuzz; Sarah Grace White’s hypnotic voice and melody; Maxim Ludwig’s expert minimalism; and Camp Saint Helene’s beautiful, big sky folk. “Thank you for listening and supporting this experiment,” Olsen says. “If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. Love, Angel”

Limited Edition Yellow vinyl repress.

Two huge edits by Gospel Soul music authoritarian Greg Belson & veteran edit crew, Situation member Paulo Fulci.

Greg Belson has been the host of The Divine Chord Gospel Show since 2011, and has shared his record collection to an ever growing worldwide audience.

Over the last 4 years, he's assembled DJ tours around Europe to spread the gospel directly to the dancefloors of more discerning clubs, and it was at Glastonbury Festival specifically the NYC Downlow stage that he met Paulo Fulci. 'Born Again' became a reality and in the Summer of 2017, was road tested on Belson's tour of 50 dates over 3 months.

His work as a compiler of releases on Cultures of Soul & Harmless Records have garnered support from all sides of the music industry from The Guardian to BBC Radio 6 Music.

Now as 'Divine Situation', Belson & Fulci are returning to the underground sound with a slew of edits, starting with these back to back club-tested heavy hitters.

Just a Man, Beres Hammond’s 1979 album, is a hidden gem in his illustrious career, celebrated for its heartfelt lyrics and smooth melodies, hallmarks of Hammond's signature style. This album offers a rare glimpse of Hammond before he became the lover’s rock icon we know today. Blending R&B, disco, soul reggae, and lovers rock, Just a Man showcases his soulful voice against the backdrop of disco-infused reggae rhythms, creating an irresistible vibe.
At this pivotal moment in his career, Hammond had just left the band Zap Pow to focus on his solo work, and Just a Man was a bold statement of independence. It reflects Hammond’s early musical journey, combining elements of R&B and disco with reggae, and marks a key moment in his rise as a solo artist.
Produced by Joe Gibbs, a legendary figure in reggae, and arranged by Willie Lindo, the album features some of Jamaica’s most esteemed musicians: Val Douglas & Mike Chung on bass; Mike Richards, Robert Stephenson & Calvin McKenzie on drums; Robert Lyn, Franklyn Waul& Harold Butler on electric piano; Lenox Gordon, Willie Lindo on guitar; Pam Hall, Prilly Hamilton, Sharon Forrester & Beres Hammond on backing vocals; Waul, Clive Hunt & Noel Seale on percussions; Hunt, Franklyn Waul & Harold Butler on piano; Dean Fraser on saxophone; Peter Ashbourne Group as string ensemble; Jerome Francque & Roland Robinson on trombone; David Madden, Willie Brackenridge & Clive Hunt on trumpet.
The album’s standout track, “Do This World A Favour,” became a UK soul hit, but the entire album features rare and funky gems like "Keep My Wheel Turning" that reflect Hammond's versatility and ability to transcend genres.
Our exclusive edition has been remastered, delivering superior sound quality that enhances the richness of every note.
This edition is published under the direction of Joseph Barthelet for Jamwax, under license from Gavin D.A. Gibson.
Just a Man is more than just an album; it’s a significant piece of jamaican music history.

Taking the album name from the famous adventure novel ‘My Side of the Mountain’, Iconoclastic artist Kat Von D explores themes of love and sobriety in her sophomore album release. Created whilst covering her iconic tattoos and finding a new faith to live by, this synthwave, goth, post-punk album was created whilst finding peace amongst the chaos and written from Kat’s own experiences of love, darkness and vulnerability with collaborations from respected songwriters Shep Solomon (Enrique Iglesias, Kelly Clarkson, Natalie Imbruglia) Fernando Garibay (Lady Gaga, Bruno Mars, and Kylie Minogue) and guest vocalist Alissa White-Gluz (Arch Enemy).Kat Von D has an impressive résumé. She has done everything from shaking up the tattoo industry to starring in hit TV shows, writing best-selling books, and creating a beauty empire. But before all of that, her first love was music. She poured her heart into melodies and songwriting before she became known for her work in tattoos and makeup. With a background in classical music and an eclectic appreciation for different genres, it is clear that ‘My Side of the Mountain’ is an impressive follow up album from Kat.

This 7th edition of the "best of" 1990s vinyl edition "Earquake 1991-1999" once again documents Wolfgang Voigt's extremely complex musical work of those years. The subjective compilation, at the first impression only held together by the straight bass drum, results in a strange whole after 25 years.

On “Earquake 1997”, in addition to snotty Mike Ink saw techno, there are also some pieces from the experimental concept album “Massstab 1:5” as well as three versions of the hippie-esque sing-along techno hit “Wassermann – Fackeln Im Sturm” that have never been released on vinyl so far...

„Wir lagen träumend im Gras“ (We lay dreaming on the grass)
Die vorliegende 7te Ausgabe der „best of“ 1990er Jahre Vinyl Edition „Earquake 1991-1999“, dokumentiert einmal mehr Wolfgang Voigts extrem vielschichtiges, musikalisches Schaffen jener Jahre. Dabei ergibt die subjektive Zusammenstellung, im ersten Eindruck nur durch die gerade Bassdrum zusammen gehalten, mit 25 Jahren Abstand ein eigentümliches Ganzes.

So finden sich auf „Earquake 1997“, neben rotzigem Mike Ink Sägetechno, ebenso einige Stücke aus dem experimentellen Konzept Album „Massstab 1:5“ wie gleich drei bisher nie auf Vinyl erschiene Versionen, des hippieesken Mitsing-Techno-Schlagers „Wassermann - Fackeln Im Sturm“...

„Wir lagen träumend im Gras“

ÄÆ Sound is a new mysterious and futuristic silver dark project hailing from Milan produced and developed by Andrea Lazzari, a miscellaneous italian artist. ÄÆ, dropping a super groovy first track with a heavy kick, bass variations, and killer melodies perfect for the dance floor. The second track brings darker vibes, break techno variations, and well-crafted silver dark underground shapes. For the flip side of the record, ÄÆ for his very first EP launch developed two B Side tracks. The first one hits you with some UK groovy bass variations and hypnotic synths, plus some slick drum work and background melodies. The second one is a tool uk drum n bass track with a dark and futuristic sound.

Part 2 in the GFATC series. Fav episode by Boy Q

GFATC Exploring hip-hop’s dustier grooves, sounding similar at times to his early solo work or the 2020 Fly Anakin collaboration Fly Siifu’s.

GFATC’s mode and presentation help distinguish it: It has the air of a daisy-chained DAT tape reel that somehow found its way into your speakers. Without separated tracks, the beginnings and endings of songs (producers include Siifu’s alias iiye, Tony Seltzer, XVII, MVW, West, and IMDEAD) are left to the listener to determine. On paper, it’s a suite; in practice, it becomes more like a sculpture, where multiple angles of engagement over time bring a more weighty understanding.

BLACK VINYL LTD TO 150 COPIES ONLY

Production: Ahwlee, Por Vida, Tony Seltzer x Grimm Doza, Michael White, LastNameDavid, Crem'e, Bobbyy
Sound Design: iiye
Featuring: Cleo Reed, Judah, Ahwlee, VonBeezy, Tyah, Turich Benjy
Mixed: iiye, ahwlee, zeroh, kei$ha, anwalk, bryan
Mastered: devin burgess, zeroh


[b] 02 DEADASS [REMINDER]

GFATC Exploring hip-hop’s dustier grooves, sounding similar at times to his early solo work or the 2020 Fly Anakin collaboration Fly Siifu’s.

GFATC’s mode and presentation help distinguish it: It has the air of a daisy-chained DAT tape reel that somehow found its way into your speakers. Without separated tracks, the beginnings and endings of songs (producers include Siifu’s alias iiye, Tony Seltzer, XVII, MVW, West, and IMDEAD) are left to the listener to determine. On paper, it’s a suite; in practice, it becomes more like a sculpture, where multiple angles of engagement over time bring a more weighty understanding.

LTD BLACK VINYL TO 150 COPIES ONLY

Comes with 2 unreleased bonus cuts.

Production: iiye, Tony Seltzer, XVII, MVW & West, IMDEAD
Sound design: iiye x Apollo Rome
Featuring: Butch Dawson, Peso Gordon, Turich Benjy, Apollo Rome
Mixed: iiye, zeroh, kei$ha, anwalk
Mastered: devin burgess, zeroh

Remastered Re-issue!

Marvin Dash, Germany's best kept House Music secret. Real House Music headz have been following his versatile productions between Detroit House and Minimal Techno since the mid 90's. Back then many didn't know Marvin is really Ronald Reuter, hailing from the middle of Germany, Thuringia.

About 30 years ago Ronald and his buddy Jens Kuhn aka Lowtec teamed up for music production on their own terms in the vibrant House, Techno scene of East Germany. This scene was pure DIY: Parties somewhere out in the country, heartfelt, down-to-earth people and raw underground tunes from analogue machines. Their productions were way ahead of their times, but found a cult following by and by...

There's many great Marvin Dash records, but his main piece of work remains „Model Turned programmer“ on C-Rock's Stir15. Deep as hell, iconic soundscapes, 100% pure!

Robsoul Is Proud to Finally Release on Vinyl 4 Incredible House Cuts by 2 Great Australian Dj’s. We Have Selected the Most in Demand Tracks From the 3 Secret Weapons Projects Initially Released Digitally Only, and We Have Added One Exclusive Unreleased Track to Offer You This Great House Package....

Anyone that's been checking my sets of recent will probably have heard the tunes on this release, it's no secret that I'm a big fan of DJ Sofa's work and I'm very pleased to have a full EP from her on the label.

Her style is versatile, ranging from hardcore to melody focused jungle to dancefloor style ruffness & much more and she covers all of that on this release, alongside a remix from Dev/Null of 8205 Recordings and a collaboration I did with her.

Repress!

Moby is a name synonymous with us all in the electronic music world and we are lucky enough to have been able to hand select some Drumcode artists to remix his work.This 9 track package included remixes from Enrico Sangiuliano, Dense & Pika, Bart Skils, Alan Fitzpatrick, Marco Faraone, Tiger Stripes, Manic Brothers and Luca Agnelli. Each one has been thought out and accomplished with precision using some of Moby's synonymous samples.

Sikka, otherwise known as Stu Keating, has become a regular on Kniteforce and its sister labels, and his history with Formation records and in the jungle scene is on full display with this EP. Letting loose with some furious jungle vibes, this EP is limited in number and will not stay on shelves for long, as it is a work of timeless jungle vibes, dark but not miserable, hard but not destructive, a real EP for and of the ages....

Two new SUPRAWAX releases by Eduardo De La Calle.

The four tracks on offer here bear testimony to De La Calle's search for the perfect loop. They are hypnotic grooves, almost entirely devoid of arrangement in a classical sense. But the tracks are not static. They suck you in by means of constant modulations, build free flowing structures of their own, hints of peaks emerging at the mercy of the low frequency oscillators' cleverly set phase relationships. These tracks do not need the in-your-face kick drums and squashed dynamics of the Brickwall Generation. By leaving space, they work on a different level than solely sound pressure emanated. The simple, repetitive structure coupled with the unhasty development find their way into the dancer's brain. Moving your mind—your ass to follow suit.

No represses are planned at present.

Ni A Nhw (‘Us And Them’) is a new collection of songs by Carwyn Ellis, sung mostly in his native Welsh. Drawn from his catalogue under four different guises - Colorama, Rio 18, Bendith and solo as Carwyn Ellis - it features songs spanning over a decade, most of which have not been available to stream before. Or on vinyl for that matter!

The music itself is mostly in a folk-pop / singer-songwriter vein so although it spans a number of years and projects, it holds together well. There are seasoned favourites - ‘Llythr Y Glowr’, ‘Gall Pethau Gymryd Sbel’ and ‘Ti’ have been staples on BBC Radio Cymru over the last 5 years or so. Covers include’Gorffennaf’ (‘Luglio’ in it’s original Italian) which was released with Rio 18 this Summer, and ‘Cân Am Gariad’ (Lesley Duncan’s ‘Love Song’) and ‘Hwiangerdd Takeda’ (‘Takeda no Moriuta’ in it’s original Japanese), both recorded with Bendith for their long-sold out 12” EP on Manchester’s legendary Aficionado label in 2017. Some of the songs on the album were previously only released digitally via Bandcamp as fund raisers during the Covid era - ‘Gair O Gysur’ as Rio 18 and ‘Drudwen’, ‘Cardigan Bay’ and ‘Ti’ as Carwyn Ellis himself.

As the album draws to its close, the tunes take a slightly more electronic turn, beginning with ‘Kerro’, from the Colorama mini album ‘Llyfr Lliwio’ originally released in 2011. The CD and streaming versions of the album close with the Begin remix of ‘Hapus?’ By Colorama, an epic Balearic chill out tune if ever there was one!

As Carwyn finishes work on the next Rio 18 album (due in 2024) this is a welcome reminder of his varied skills as a singer, songwriter, arranger, producer and collaborator - a colourful chameleon, comfortable working in any number of musical styles, and never prepared to sit still. This collection, following on from 2014’s ‘Dere Mewn’ CD, brings together all of Carwyn’s remaining Welsh rarities, whether solo, as a bandleader or as a collaborator. Ni a Nhw. Us and Them.

Limited edition pressing - 50 copies come with one page insert. Download code included.

The album Sonic Mystics for Poems (of Life and Death of a Phoenix) by Andrea Burelli is a work that masterfully blends traditional musical languages with the formal and conceptual sensibilities of contemporary music. It offers a profound reflection on the life-death-life cycle, centered on poetic texts that oscillate between human-sensitive experience and the mythical journey of a phoenix, a metaphor of this circular and infinite reality.

The work, which includes a collaboration with musicians from the renowned Solistenensemble Kaleidoskop, stands out for its clear influence from classical Western music and modal traditions, as well as experimental electronics. Composed for voices, strings, synthesizers, and drum machines, this music features a minimalist tapestry of polyphonies, enhanced by sophisticated electronic elements and a diverse array of rhythmic articulations.

Field Notes describes Andrea Burelli as a versatile artist capable of embodying a multitude of roles, from poet to composer, musician, and singer, emphasizing how her work reflects this versatility by ¨combining elements of art song, contemporary music, pop, and electronic sounds.¨ According to Groove Magazine, this LP evokes neoclassical chamber music and an imagined Italian folklore, aligning with contemporary explorations of modern vocal abstractions, similar to the work of artists like Marina Herlop, stating that: “This is how the new and the good emerge.”

Furthermore, the music has received positive feedback from internationally acclaimed artists such as Rashad Becker, who, in addition to being the mastering engineer of the project, describes it as "pure and honest"; James Young of Darkstar calls it "bold and innovative"; while Eartheater (PAN), Rabih Beaini, and Gigi Masin have praised it as "beautiful."