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Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

"Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Duane Pitre returns to Imprec with Omniscient Voices, an articulate, intense and emotionally resonant set of five pieces for justly tuned piano and electronics.

Omniscient Voices is a uniquely distinct work that follows Pitre's trilogy of releases which culminated with 2015’s Bayou Electric and included the critically acclaimed Feel Free (2012) and Bridges (2013) albums. Where those albums were rooted in long form pieces, Omniscient Voices is a collection of shorter pieces, offering more harmonic variety than previous works, with a unique sound and feel that is still unmistakably the work of Duane Pitre.

In 2019, after a five year period where Pitre did not focus on outward facing music, but instead on his own personal practice, a small idea in the form of a question came to him: would the combination of his latest computer- and electronic-based experiments, used in conjunction with justly tuned piano, produce interesting results; simply put, would it “work”? Concurrently, Pitre was studying a handful of Morton Feldman scores for their focus on tonal clusters, reading a book on Arvo Pärt’s life and work, and contemplating the pulse-based rhythms of Steve Reich and Phillip Glass.

In 2020, with no intention of making a new album, the composer tried to answer this question. The results would spawn five pieces that would become Omniscient Voices. On this new work, Pitre finds himself giving equal priority to both piano and electronics, utilizing his Max/MSP-based generative network to real-time convert precomposed piano motifs, into data, which is then used to communicate with two polyphonic, microtonal hardware synthesizers whose patches Pitre authored; this process generates the electronic component of the album. Pitre also utilizes controlled improvisation to interact with the piano-reactive electronics in a spontaneous and inspired manner, going back and forth between these two pianistic approaches. In all, this approach creates a “musical feedback loop” of sorts.

Despite Omniscient Voices being the culmination of 15 years of hard work and inspiration, this beautiful album somehow materialized in a natural, intuitive and effortless way (like any artist's best work.)

Artist's statement: “When making the pieces that would become Omniscient Voices, I often viewed the piano as human action, a single note becoming a single gesture that has the potential to change the electronic environment, the electronics becoming the environment surrounding that human in the natural world, who then has the power to change their actions based on their surroundings. All actions have consequences. The interconnectedness of everything. Single actions making waves of change.”

RIYL: Arvo Pärt, Morton Feldman, Steve Reich, Phillip Glass
Mastered and cut by Golden and pressed at RTI for maximum fidelity.

Punchline: Enjoy this first single "Waiting For A Star To Fall" from swedish allstar band AT THE MOVIES, doing unique cover versions of their favourite movie songs. Taken from their upcoming album "The Soundtrack of Your Life - Vol. 2" and with members from Pretty Maids, HammerFall, King Diamond, The Nightflight Orchestra, Therion and more! 1. SINGLE - 12.11.21 „Waiting for a star to fall“ 2. SINGLE - 19.11.21 „Last Christmas“ 3. SINGLE - 10.12. „(I Just) Died In Your Arms“ 07.01.22 on album release day): - „Heaven Is A Place On Earth“ FOCUS TRACK: „(I Just) Died In Your Arms“ "Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

OK, it’s taken us to get to our 11th release for some filthy organ funk to grace the label, and who better than The King Rooster.
Hailing from London, The King Rooster are a heavy funk quartet consisting of Ian Stevens on bass, Mark Claydon on drums (both
from another heavy funk band - The Getup), Sam Montero on keys and James Forster on guitar.
Collectively the band have played, recorded and shared stages with the likes of Sir Joe Quaterman, JTQ, Gizelle Smith, Reuben
Wilson, Speedometer Pee Wee Ellis and many more.
The band have released a clutch of heavy duty organ funk 45s on various labels over the last few years (Our Label, FNR, Dinked,
Burning Soul) and a spectacular LP, also on Dinked. But it was when we heard ‘Snitchin’, Stitchin’ & Bitchin’ on Funk Night Records
that we decided 45 Live needed some Rooster funk on the label!
It is entirely evident that the guys all have a deep love for raw funk, that gritty, slightly shambolic garage sound, punchy instrumentals
designed to hit you in the gut, pure soul from the pure funk perspective. It’s all about the ‘nasty face’!
Here we have 2 hard hitting organ screamers kicking off with ‘Snake Bait’ on the A side, a raucous 144bpm dancefloor burner.
Scratchy guitar, thumping bass and manic drums underpin a swirling and ever building Hammond Organ into a firey crescendo.
Whilst over on the B ‘Stickin’ it’ takes some cues from The Meters sound with its trance like organ riffs and bluesy flavour. It’s a raw
mid-tempo head nodder which, like the A side, keeps building and building into such a cookin’ groove.

On March 13, 2020, Yumi Zouma's highly anticipated album, Truth or Consequences, was released. One day prior, the band played their first show of a fully sold-out US tour, at Washington, DC's DC9. This was also the day the Word Health Organization declared COVID-19 an official pandemic, resulting in the band cancelling the entire tour and flying back to Europe the next day - the day of their album's release.

"So after returning home and spending a few numb weeks adjusting to this strange new way of life, April came, the reality set in, and we quickly started to miss that feeling of exploring our new songs by night," the band says. "Writing new music around them, we took the songs of Truth or Consequences and found ourselves a new way of re-contextualising them safely, amidst the tragedy and fear going on in the world outside our windows – and the Alternate Versions were born. We encouraged each other to be bold, fearless, and to experiment like we would on stage – but from the comfort of our own bedrooms, living rooms and hallways.

Luigi Grasso rubbed shoulders, when he was twenty, in New York. He then fed on all those artistic possibilities that thrive in the big apple, and bit into it with full teeth, with fierce greed. Jazz was already flowing in his veins, and he was going to enrich this impetuous river of multiple confluences, which he discovered in the prolix underground of the city universe. Meetings, musicians, friends, artists, approaches, differences, additions, mergers, the Italian had found his America for the best and for the sake of it. In words and music. As in Greenwich Village, where he would find a refuge nest in 2O14. In the heart of Manhattan between Soho, Broadway, Chelsea, Hudson. This once bohemian neighborhood, where trees thrive at the foot of red brick buildings, is more often called "the village". Here the young saxophonist from the south of Italy will pose his audacity and his appetite. He will quickly fraternize with the best, in this refuge for artists where gospel, rock, rap, soul and, above all, reign supreme, reign in gospel, rock, rap, soul.

Russian Roulette is the seventh studio album by German heavy metal band Accept. The album was originally released in 1986 and the last album to feature Udo Dirkschneider as lead vocalist until his return in 1992. The recordings are darker and heaver in sound than the commercial-sounding predecessor Metal Heart. The band stated that with this album they were going back to their unpolished sound and therefore produced the album themselves.

Accept was originally assembled by former vocalist Udo Dirkschneider, guitarist Wolf Hoffmann and bassist Peter Baltes. Their beginnings can be traced back to the late ‘60s. The band played an important role in the development of speed and thrash metal, being part of the German heavy metal scene, which emerged in the early to mid-80s.

Russian Roulette is available on black vinyl and includes an insert.

Massachusetts hardcore band Defeater have announced their new self-titled album. Defeater will be released May 10 on Epitaph. This is Defeater's fifth full-length release and their first in 4 years. The first new single, "Mothers' Sons" features blistering guitars that take the song into something chaotic and beautiful. Defeater was produced with Will Yip (Quicksand, La Dispute, Blacklisted, Ms. Lauryn Hill) whose enthusiasm and talent pushed the songs to their fullest potential. Defeater showcases the band at their most devastating and sonically arresting to date. It is as pummeling as it is atmospheric. Yet it's been a long journey to where the band is now. Years of touring took their toll on the friends that make up the current lineup of Derek Archambault (vocals), Jake Woodruff (guitar), Adam Crowe (guitar), Mike Poulin (bass) and Joe Longobardi (drums). Health, substance abuse issues, and ejecting a longtime member had made a touring hiatus necessary. After a few months at home, working and decompressing, the fire to write a new record caught everyone in a major way. The result of time off and the band's renewed energy, Defeater has created their most organic batch of songs yet. And in Defeater fashion, the instrumentation is complimented by a narrative approach. Archambault explores his own "Glass family" (an homage to the J.D. Salinger characters) from new perspectives.

The soundtrack to Oscar winning movie “Juno” is well known for its indie rock theme, featuring artists such as The Kinks, Belle & Sebastian, Sonic Youth, Mott The Hoople, The Velvet Underground and Cat Power amongst others. The soundtrack – which was certified platinum in the US – has not been available on LP since the original pressing in 2007, it will be pressed on neon green vinyl.


[b] a2. My Rollercoaster [Juno Film Version] - By Kimya Dawson







[j] a10. Sleep [Instrumental] - By Kimya Dawson

On 180 grm audiophile black vinyl and is stickered to say this. This six-song, half-hour CD the band’s affecting a more rural, lonesome-sounding tone and a moodier, more deliberate pace; the more traditional feel meshes well with Anton Newcombe's twisting of country-gospel lyrical clichés into rock & roll attitude. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club

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.

A swiss army knife of an album, Zander Hulme's Windbound shifts effortlessly between beautiful, sweeping piano melodies, energetic calls to adventure, and the occasional throat singing for good measure.

Featuring watercolor inspired jacket and inner sleeve artwork by Jennifer A. Reuter, this release is a whirlwind of color packed into a single square foot. Presented in two variants, "Seashore" Blue Marble and "Cloudy Skies" White in Clear Marble.

Pressed on 140 Gram recycled eco vinyl

Manufactured using FSC certified cardboard.'Transparency' is Sam McTrusty
spilling his guts on everything from marriage, male friendship and the absurdity of
social media to parenthood, medication and his mum. Written in strained
circumstances and recorded remotely with Sam's mate and mentor Jacknife Lee,
the album arrived more by accident than design when the world went into
lockdown last spring.

Manufactured using FSC certified cardboard.'Transparency' is Sam McTrusty
spilling his guts on everything from marriage, male friendship and the absurdity of
social media to parenthood, medication and his mum. Written in strained
circumstances and recorded remotely with Sam's mate and mentor Jacknife Lee,
the album arrived more by accident than design when the world went into
lockdown last spring.

VIDO's way of independence with her first vinyl release on her own label. Coming from Frankfurt(Main), over many milestones to Berlin. "With limited given medium, creating something".

Enjoy the journey of a trippy, meditative, still a bit obscure danceable record of the VIDO Alias and her Alter Ego "M-Drive" that shows the last track with a voice insert.

Olindo Records is proud to present the 7th full length release in
its expanding catalogue by Venezuelan singer, songwriter and multi-instrumentalist Isaac
Sasson.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today.
DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.

Collectors of Black American music have long revered maverick genius Jerry Williams Jr. a.k.a. Swamp Dogg. His brilliant songwriting and unique voice have left indelible imprints on soul for decades, and Soul 4 Real Records are proud to add a Swamp 45 to their ever-growing catalogue.
Both these tracks make their vinyl debut here. If you saw Swamp perform “Oh Lord” at 2019’s Soul 4 Real weekender, it’s a memory you’ll treasure forever. Swamp’s exquisite studio version of the soul standard was recorded in 1967 as a follow-up to “Baby You’re My Everything”, but inexplicably stayed unissued for 40 years.
Almost 40 years have also passed since Swamp recorded his demo of “If You’re Leaving”, a song from his “lost” country album on Mercury. Never issued anywhere before, it’s a rare chance to hear work-in-progress from one of soul’s most beloved artists.
As he enters his seventh decade of recording, Swamp continues to be active and musically provocative. A man of many names and many talents, here’s Swamp Dogg at his vintage best!

The latest thrilling incarnation of master rock'n'roll storyteller Tex Perkins (The Cruel Sea, Beasts of Bourbon, Thug, Tex Deadly and the Dum Dums, Tex, Don et Charlie.) and the Fat Rubber Band began with a rare vinyl copy of Link Wray's Beans and Fatback album, recorded in 1971. Perkins and his respected musician, songwriter, producer and bandmate Matt Walker share a mutual admiration of the American electric guitar innovator, whose iconic power chords in his signature 50s rock'n'roll instrumentals, had a profound influence on the evolution of rock guitar. The Fat Rubber Band is borned with this rare vinyl, the pair have enjoyed countless musical conversations over the decade while hanging out backstage and on the road. Walker offered the debut album's opening track, the wide-screen drama of "Pay The Devil's Due". Perkins responded with the plaintive blues of "My Philosophy". Walker replied with the album's fuzz driven debut single "Danger Has Been Kind" and Perkins countered with the glacially-paced, intimate "Poor Simple Minded Fool". The pair road-tested their works in progress as a duo before enlisting bassist Steve Hadley, drummer Roger Bergodaz and Evan Richards on percussion to complete the Fat Rubber Band line-up to record the album's ten tracks at Walker's Stovepipe Studios in Victoria's Dandenong Ranges. "At Matt's studio - you open the door to the studio and nature floods in," Perkins says. "We wanted it to sound rural, to feel the dirt and the grass and the leaves." Even after all these decades, when you think you know that gravelly baritone inside out, Perkins finds new emotional tones in the service of the Fat Rubber Band's songs vivid narratives, with their characters wrestling, but sometimes dancing, with the tougher, darker qualities of the human condition. This is truly existential blues. Bubbling underneath those upfront vocals and raw harmonies are intricately entwined guitar conversations and unexpected percussive flourishes. "Another aspect that we wanted was for the sound to be sometimes a collision and sometimes a marriage of acoustic and electric instruments. We wanted that tension between mandolins and bouzoukis meeting fuzz guitars." "We also considered percussion to be a vital element of the sound we were going for; we noticed in the recordings we loved from the 50s and 60s that often the tambourine hit, or the maracas, or whatever percussion, was right up there in the mix, right next to the vocal," Perkins says.

Twang, Hmmm, click, thunk.



When XTC finally downed guitars after the recording and release of “Wasp Star”, their last album to date, one of Andy’s ideas about what to do next, was to become a songwriter in the traditional sense, writing songs for others…



It was something he had been asked to do throughout the XTC years, but never had the time.



Songs were written. Songs were sent. Sometimes speculatively, often specifically requested, many tailor-made for an artist's requirements, but then choppy waters could still lay ahead. Even where everyone seemed to think that newly written song A would be wonderful if recorded by singer B, whose manager C had initiated the request via music publisher D for album E on record label F…



Well, you begin to see the potential problems of such an approach – almost a quarter of the way through the alphabet and not a note recorded beyond Andy's original demo. That’s without detailing the sort of horrendous politics that makes a fresh batch of alphabet spaghetti of any of the above as they interact.



Still, songs are like children. A songwriter gives birth to them, feeds them, watches them grow before sending them out into the world. So it’s unfair to abandon them as orphans just because their first experience outdoors might be a traumatic one of being cold shouldered.

As a loving parent, Andy brought them all back together, re-Andy-fied them and buffed them up in his home studio, et voila! Here is the first selection of song siblings that resulted from all of this work, four brothers and sisters, happily reunited and presented as a family group aural snapshot for your entertainment and delight.



The story has a happy ending after all. It is almost as if The Sound of Music, had been set in Swindon.



If only we all failed so well…

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

After the international success of Thunderbirds, Gerry and Sylvia Anderson turned their attention to a deadly threat from Mars. Seeking revenge for an attack on their home planet,

the Mysterons plot to use their powers to bring Earth to its knees.

Across 32 episodes broadcast during 1967 – 1968, the series is remarkable for moving away from the more caricatured puppets of previous shows –

they have more realistic body proportions and the storylines are much more violent and darker in tone. Something reflected in the music which has a

more militaristic feel to it although, as always, composer Gray offers up occasional lighter tracks to break up the mood.

The opening narration of each episode sums it up –

"The Mysterons: sworn enemies of Earth. Possessing the ability to recreate an exact likeness of an object or person. But first, they must destroy...

Leading the fight, one man fate has made indestructible. His name: Captain Scarlet."

The Captain Scarlet LP will be sixth album in the series which includes UFO, Supercar, Thunderbirds, Fireball XL5 and Space: 1999.

60 million streams after their 2nd opus Running To The Moon, the duo's 3rd album, War Is Over, is a dive into 70's funk and soul with the same will to get the essential: the beauty of the melodies and the implacable groove. The Hip-Hop instrumentals on which singers and MCs seem to have more fun than ever, serve as a link to the whole.

Recorded mainly in Bordeaux, this new opus marks a turning point in the group's production method. The brass section present on the Running To The Moon tour was involved in the composition and thus brings a more organic touch to the sound of the album.

As usual, the duo has surrounded themselves with a horde of cult singers and MCs: R.A The Rugged Man, Pav4n & Illaman, Yoshi Di Original, Blake Worrell, MysDiggi or the young hopeful Yudimah (Fair 2020 winner) and the Englishman C.W Jones.

War is Over sounds like a declaration of love to black American music, from Early Jazz to Hip Hop, via Soul and Funk.

Habibi Funk presents a selection of works by Algerian-born, Amazigh artist Majid Soula. Majid’s music blends the best of Arab-disco, highlife and groovy funk into something wholly unique.

Born in Kabylie, Algeria - a place that remains fundamental to his career - Majid Soula is a self-made musician, artist and producer. With no formal music education, Majid’s tenacity has led to a career that is still blossoming. His synths, driving drums, guitar & strong lyrics make a unique sound. A strong proponent for the rights of the Amazigh, he has a band that to this day plays shows, most linked to cultural events of the Amazigh diaspora in France, as well as in Belgium, Russia the UK and Sweden. He was part of a new wave of widely popular and successful Kabyle artists in the 1980s, such as Ait Menguellet, Lounès Matoub, Takfarinas, Idir and many more.

Habibi Funk as a label is dedicated to re-releasing music from “The Arab World”, but this release shows how reductive this term can be, as the countries from North Africa and West Asia being summarized under this term include a vast number of languages and identities. Obviously, headlines sometimes come with limited space, and one can’t avoid using terms that paint a half-finished picture. That being the case, however, we are even more happy that Majid Soula liked our idea to work on a release of a selection of his music with us. The tracks here are incredible and need to be introduced to a new generation of listeners.

For Majid Soula music is more than just entertainment. He considers himself an activist through music, and foremost a “chanteur engagé”, as he says of himself: „I take my inspiration from the daily life of my people and I share all their aspirations, mainly the official recognition of Tamazight as a language, culture and identity.”

He still works on new music in his small home studio in Belleville and occasionally plays concerts for the Amazigh community of the city.
We sincerely hope that for you reading this and listening to Majid’s album, his music will have the same revelatory feeling it had on us, and that this will be part of a momentum that will allow Majid to keep on working, playing, and sharing his message for many years to come.

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

The Artists Formerly Known As The Connection Machine (Utrecht, Netherlands) go raw and mean on this one! If the underground The Hague-style from the 90s is your thing, this 12" is your cup of tea. 4 hectic 808/303 trax, all mixed in a dirty way, with loadsa fx on the 303.

The Connection Machine/Cray Emoticon is the multi-talented duo of Natasja Hagemeier and Jeroen Brandjes, who debuted on U-TRAX in 1993 with their instant classic and much sought after 'The Dreamtec Album' (catalogue no: 3 UTR UMM 1). They went on to create another epic release called 'The Black Hole EP' on U-TRAX (catalogue no: 5 UTR UMM 2), but not after they presented 'Bitflower', a true work of art on Planet E from Detroit. Later they released the CD album 'Painless' on Down Low Music and in more recent years two 12"s (shared with The Lost Trax) and an album on Tabernacle Records from the UK.

The title track is originally meant as a replacement for the original game music of level 9 of the 2nd episode (E2L9) of the computer game Doom. The artists thought the original score wasn't doing right to the intensity of the game and made their own apocalyptic soundtrack. 'Gnawing The Heart' already proved its usefulness on many a dancefloor, whilst 'Choice Chip' will satisfy the ultimate speed freaks amongst you. If you're not into drugs or mushrooms, 'I Wish My Zapper Was A Gun' can deliver you the same effects: it's a psychedelic space-acid trip, built around a sample of the sitcom 'Neighbours'.

You can't get wrong with this vintage and merciless dance floor material from the mid-nineties.

Original release date: October 1995.

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

Mauro Pawlowski is what one might call 'rock royalty'. He has been of the key figures in the Belgian contemporary music scene ever since he started his career as frontman of notorious cult band Evil Superstars in 1992. The insatiable Mauro was a dEUS member for years but he was also the driving force behind countless other musical projects and alter egos. He had a hand in over 100 records and counting.

Mauro is now releasing a new solo pop album called 'Eternal Sunday Drive' under his own name via Unday Records, something a generation of music lovers has been yearning for the last decade.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

"Of the records Ayler made during 1964, the LP New York Eye and Ear Control...is probably the most important link between the epoch-making collective improvisation Free Jazz by the Ornette Coleman double quartet, and John Coltrane's Ascension. Apart from that, it is—in my opinion—one of Ayler's very best recordings. New York Eye and Ear Control owes a large part of its success to the contrasting temperaments of the three musicians used by Albert Ayler in addition to his trio, namely, trumpeter Don Cherry, trombonist Roswell Rudd and alto saxophonist John Tchicai. Don Cherry improvises in broad melodic lines or places sharply accented staccato passages. Roswell Rudd interposes fragmentary flourishes in the highest register, or growl sounds and glissandos in the manner of the old tailgate trombonists. John Tchicai presents the polarity of a slightly 'cool,' linear style and offers motivic linkage by insistently repeating melodic patterns. All three inspire Albert Ayler to a breadth of expression which is too often missing in his improvisations with smaller groups. There is less limitation to his sound-span playing, more contrast, more punch and rhythmic accentuation, and with quick response Ayler takes motives from Cherry, Rudd and Tchicai, transforms them
into his own musical idiom, and in turn gives a new direction to the flow of ideas." - Free Jazz by Ekkehard Jost

"The music is fiery but with enough colorful moments to hold one's interest throughout." - Scott Yanow, All Music Guide

"...a valuable window into the music's early history as well as what might have happened outside record dates, more than one is usually privy to." - Clifford Allen, AllAboutJazz

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.

It’s incredibly easy to get a remix wrong — as the back catalogues of far too many major labels, whose slapdash commissioning of the latest hot remixer half-guarantees an unsympathetic mangling of the song, can attest. At their best, remixes can make you look at an artist as though positioned from a different angle or using a different camera; sometimes hearing a song in a different context gives it a completely new meaning. “So you take a piece of a vocal…blah” says master remixer David Morales. “That’s a remix? That represents the artist? That doesn’t represent the artist, it represents you.” In the hands of the insensitive a remix is like chucking a song into the washing machine for a 100 extra spins.

In the hands of a master, things are a little more complex. Heavenly was all but founded on the art of the remix; our departed friend Andrew Weatherall remixed the first ever release, and the label has built up an immense catalogue in the intervening years that demonstrates all that is good about the art form.

Assembled on this compilation are twelve sterling examples of the remix, from Hanspeter Lindstrøm’s reading of Doves’ ‘Jetstream’, which turns their glistening pop into Lieutenant Pigeon meets Italo-disco (in a good way), to Andy Votel’s gentle folk-funk version of Halo Maud’s délicieuse ‘Des Bras’. We delve deep into the vaults for Saint Etienne’s ‘Filthy’, Monkey Mafia turning it into a rump-shaking groove perfectly suited to Q-Tee’s rap, while more recently, Flying Mojito Bros, purveyors of Tex-Mex house groove, reimagine Katy J. Pearson as a lonesome Lone Star lover.

Though not purposely themed, beyond being judiciously chosen as the catalogue’s finest gems, there’s a tiny hint of psychedelia about this set that is hard to ignore. Firstly, there are the acid contributions from Gabe Gurnsey, who knows his way around a coruscating bassline, and from Graham Massey, whose impeccable credentials in 808 State are brought to bear on ‘Valleys’, by young turks Working Men’s Club (acid house being modern psychedelia, whether the rock press approves or not).

Jono Ma, meanwhile, flips Night Beats’ amazing ‘Sunday Mourning’ into ‘Warm Leatherette’ on benzos, creating a disorienting glimpse of a dystopian Sunday that most definitely doesn’t include a genteel read of the papers and a nice cup of tea. On the other side of the miasma is Beyond The Wizard’s Sleeve’s redemptive re-interpretation of M. Craft’s ‘Chemical Trails’, which, alongside Boy Azooga’s ‘Face Behind Her Cigarette’ (Mikey Young remix), Gwenno’s ‘Chwlydro’ (R. Seiliog remix) and and Katy J. Pearson’s ‘Take Back The Radio’ (Flying Mojito Bros Refrito Dub), is issued on vinyl for the very first time.


This dozen tracks — each one curated, remixed and delivered with love (and a teensy bit of impertinence) — is just a glimpse into the catalogue of one the UK’s finest indie labels.

In the alternative reality in which I’d prefer to exist, this what Top of the Pops might sound like; or, at the very least, the jukebox in the Korova Milk Bar. Pop disruption at its best.

A sublime techno reissue from the vaults of one of London's leading electronic labels of the last 25 years, remastered and re-presented for 2022!

Originally released in 1994 on Mr.C's cult UK house and techno label Plink-Plonk and composed and performed by Laggy Panteli and Zeno Messis (aka Megalon) in their London studio, 'Pandora's Box' is a truly unique record. Sleek, futuristic, fathoms deep and wholly original, the music contained on these 2 discs sounds as modern and as vital as it did on it's arrival all of those years ago.

Exploring a deeper vein of electronic music, Megalon craft their own sonic landscapes that are undoubtedly inspired by all forms of cerebral electronic music. Ambient, Detroit techno, electro, European electronics and of course the duo's experiences in London's early acid house and rave scene all filter through their lens to bring something brand new to the table. The arrangement, sound design and mix on the album is outstanding, lending a totally visionary and modern feel to the tracks that continues to echo today.

'Pandora's Box' is a record that has existed within the shadows for many years, with a hardcore cult following. The kind of record that one might hear deep into the early hours, at the hands of a seasoned selector or an 'insider' who has the knowledge. It is redolent of a time when innovation, ideas and imagination trumped the run of the mill and the homogenous, which goes a long way in explaining what makes this record so exciting some 25+ years later.

A totally essential mid 90's UK techno and electronic classic, as much a treat for the mind as for the body.

Reissued in full conjunction with the artists and remastered by Curvepusher from DAT and original source materials. Redesigned by Atelier Superplus and distributed worldwide by Above Board distribution, 2022.