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New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Esteemed Berlin producer Santé, serves up a one-sided white label of bouncing minimal grooves in the form of ‘HOW’, maxing the techy glitches, crisp percussion and bumping bass whilst elevating it to mythical status with a timeless 80's vocal that’s bound to turn heads. Pure peaktime roller business, cop one before they’re gone!

“Please Wait“ (Ta-ku & matt mcwaters) releasing their EP „Black & White“ featuring soon to be mega star Masego and others via 823 & Jakarta Records. After releasing last year’s very successful tribute-record “25 Nights for Nujabes” (almost 13 mio. plays on Spotify to this day), Perth-based artist Ta-ku finally returns with brand new music!

... Please Wait is the culmination of numerous online exchanges and years of sharing voice memos, stems, musical ideas & TikTok links between Ta-ku and Canadian producer matt mcwaters. Their cathartic approach to this body of work has been more about self-expression than anything else and has culminated in an EP that covers a range of issues and experiences from different times in their lives.

While the 1st single features Jamaican-American multi-talent Masego and will also have a video, the 2nd single features up & coming singer/songwriter Alayna. Ta-ku’s 823 label represents the appreciation for the people/ideas/places that inspire and push us forward.

The artwork is shot by the artists themselves and each release has an accompanying photo zine that acts as a visual story to compliment the music being showcased.

Tape / Cassette

Mark Gergis is a producer, musician and audiovisual archivist known for his radio and video productions, recordings and performances. His work has focused on regional folk-pop music from the Middle East and Southeast Asia, including choubi and dabke from Iraq and Syria. As an archivist, Gergis is currently working on the project Syrian Cassette Archives, for which he aims to restore, preserve, catalogue and share his large collection of Syrian media from what can be called Syria’s ‘cassette era’ (1970s–2010). As an artist, under his name and others (Porest) he has released music on the Sublime Frequencies, Discrepant and Nashazphone to name just a few. It’s a wonder that amongst this hectic schedule he still finds time to present us with a new (old) collection of early century recordings (1999-2013).

Locational recordings, radio and TV intercepts, cassette excerpts, environments and street music all expertly all expertly meshed up into a vivid sound journey from places that were (and might) never be again.

Cap'tain Créole - formerly known as Trenchtown Meditation - was a band formed in 1984 by Clément, José, Jean-Pierre and Serge.Cap'tain Créole was a pioneering creole-speaking French reggae band with the aim of exploring new musical horizons. With the help of 3 new members - among them a sax player and a trumpet player, both coming from the jazz scene, Cap'tain Créole recorded their unique outing, Ni Bel Jounin.
A single composed of 2 titles Fré Moin / Ni Bel Jounin, both sung in creole, using with great impact some subtle electronic elements.Both tracks are at the crossroads of many universes: Afro, Rock, Funk, Reggae. The result is quite unique and foremost, the spiritual vibe that oozes from the record is an obvious marker of their reggae roots.Privately pressed and self-distributed in small quantities at the time, BeauMonde is proud to make the one and only record of Cap'tain Créole available again

Repress
A new Audiotrix !! Massive sound and digging precies frequencies for a bloody fonky techno tribe style that will cheeze up you life ! ENJOY !

After their successful cooperation in the band Arbeit Adelt! Dani Klein and Willy Lambregt started Vaya Con Dios, together with contrabass player 'Dirk Schoufs'. All three musicians shared the same passion for jazz, opera & gypsy/Balkan music, a combination of music styles that was hardly known in Belgium at the time.

Vaya Con Dios (Spanish for Go with God!') stood out for its mixing of these styles, as well as the distinctive voice of lead singer Dani Klein. He's one of the most successful Belgian music acts ever, having sold more than 7 million albums and more than 3 million singles.

Night Owls is the second studio album by Vaya Con Dios, originally released in 1990. The album was certified platinum in several countries, including Germany, France, The Netherlands and Belgium.
The album spawned several international hit singles like Nah Neh
Nah', What's A Woman' and Night Owls'.

As part of the Brewed In Belgium campaign, Night Owls is available as a limited, numbered transparent vinyl edition.

'All We Are' & 'Alex Kapranos' Both Have History With Speedy Wunderground. Label Boss 'Dan Carey' Produced Awa's Shimmering Self-titled Debut Album & Also Franz Ferdinand's Third Long-player Tonight: Franz Ferdinand. For The Latter Carey Also Created A Dub Remix Version Of The Entire Album Called Blood, Tapping Into His Love Of Dub And Earlier Work With Artists Like Lee Scratch Perry And Mad Professor.

In True Speedy Style This New Collaboration Came About Completely Off The Cuff. Kapranos Came To The Speedy Wunderground Stage At London's Label Mates Festival At Moth Club In Late Jan To See An Artist He Had Been Working With Play. All We Are Were Also On The Bill, And After Chatting With The Band And Dan They Invited Alex To Come To The Speedy Session They Had Planned With The Band Two Days Later At Dan's Studio In Streatham.

Once In A Room Together The Music Came Fast. The Remainder Of The Day Was Spent Forming Lyrical Ideas. All Present Including Carey Contributed, Jotting Down Ideas, Excerpts Of The Days Phrases And Conversations And Putting Them Together In True William Burroughs Cut-ups Style. 'It Was A Way To Detach From Conventional Song Subject-matter' Says Kapranos. All We Are Agreed, 'The Writing Process Was A Lot Of Fun And For Us A Completely Fresh Way Of Looking At It.'

... The Resulting Track 'Heart Attack' Is A Skittering Disco-post-punk Jam. Equal Parts Of All Their Day Jobs Form Something Fresh, With Echoes Of Talking Heads And Alex's Unmistakable Vocal Delivery Over The Top. 'The Speedy Tracks Are Always Such A Good Vibe And The Studio Is Such A Special Place' Say All We Are. Kapranos Adds, 'as I Think Is Typical For The Label, Nothing Existed In The Morning When We Got Together, And Then Suddenly Everything Was Completed And Recorded By The Time We Went For A Pizza In The Evening.'

- Get Out Of The K-hole. Get On To The Beach.

Heinrich Dressel was an archaeologist, epigraphist and numismatist, creator of a table, still in use, for the cataloging of Roman amphorae. For over ten years, one of the founders of MinimalRome, Valerio Lombardozzi, has embraced the name of the German scholar, becoming both the guardian of a dense collection of sounds from the past and the creator of new brilliant electronic ones. “Completion Of The Amphoras Table”, originally released on cd by Legowelt's Strange Life Records, was the final chapter of the so-called 'Studium Amphorae Trilogy', a triptych of albums which tried to 'evoke' in notes not only the discoveries and the studies of Monte Testaccio's fragments made by the former pupil of Theodor Mommsen.
The first vinyl release of “Completion Of The Amphoras Table”, curated by Souterraine.org and Envlp_Imprint, fills not only a recording void, but also gives posterity a remarkable album to rediscover, worthy successor of “Mons Testaceum” (2007 ) and “Escape From The Hill” (2008),
which reconstructs one more time the ghostly atmosphere of a Rome at the dawn of the 20th century. Heinrich Dressel adopts the stylistic features of gloomy soundtracks and, above all, relies on a set of polyphonic synthesizers that, starting from the rare Elka Syntex, favor the composition of abstract textures, punctuated by some appropriate variations, and harmonies which, net of the
deep bass, make every single track even more magnetic.

Hardcore punk pioneers 'Bad Brains' released their sixth full-length 'God Of Love' in 1995. The original line-up was back together and the album was promoted with a big tour and concerts on the Beastie Boys’ Ill Communication tour.
The album consists of a mix of reggae, hardcore, punk, and hard rock tracks. The band continued to evolve and created such a versatile album that people from different backgrounds felt attracted to it.

'God Of Love' is available as a limited edition of 1000 individually numbered copies on coloured (transparent green & yellow mixed) vinyl and the package includes an insert.

Total Refreshment Centre is proud to present a brand new mini-LP from Neue Grafik Ensemble entitled 'Foulden Road'. French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a, CoOp Presents and Wolf Music.

His sound is a hybrid of jazz, house and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London sounds like broken beat & grime thrown into the mix. In his own words "this mini album has been conceived as a journey from Deptford to Dalston, right through Peckham. During a personal period of transition, I put this music forward at a crossroad of all my influences, taking the time to share and experiment with a band more than that, an ensemble. The idea is to incorporate musicians with their own sensibilities, collaborating together as a reflection of our society; unreal & rebellious, but with magic moments, and full of hope.

The best representation of that is Total Refreshment Centre. This building and its community were a perpetual source of inspiration for me over the past two years & gladly allowed the creation of this project". Having been first properly introduced to the community of the TRC during an after-hours jam, it came to TRC founder Lex Blondel's attention that New design had some exquisite compositions of his own. A few weeks later, it was decided that Neue Grafik would form a band and that they would do their first gig at TRC, a week after the first day of rehearsals. No pressure … Lex continued; "we paired him up with Emma-Jean Thackray, to arrange his compositions for a quartet, added Vels Trio's Dougal Taylor on drums, Matt Gedrych from MaddAddam on bass and Jordan Saintard on sax.

Then the band got to work…" Title track 'Foulden Road' commences the session in truly energetic fashion, named after the street in North London where TRC is based, and where these sessions were largely laid down. Keeping with the geographical vibe, next we have 'Dalston Junction', a two-part affair starting on a sci-fi boom-bap tip, before switching to the ethereal flute playing of Brussels musician Esinam, and the first outing on the collection for Brother Portrait.

'Voodoo Rain' is next, a sweet slice of afro-funk, featuring the incredible talents of London's own Nubya Garcia on sax, and the tempo picks up once again for 'Something Is Missing' - this live version comes from the afore-mentioned infamous first gig at TRC.

The goosebump-enducing vocals of Melbourne soulstress, Allysha Joy, set off the second half of the record with the beautiful downtempo track 'Hotel Laplace', recorded at a live session at Giant Steps, before kicking the energy levels back up with 'Hedgehog's Dilemma', once again featuring the vocals of Brother Portrait, as does the closing track, 'Dedicated to Marie Paule', a mid-tempo piece akin to 90's golden era jazz-hop, bringing the set to its conclusion.

This collection of tracks reflect the many moods and various genres indicative of Neue's creative approach illustrated above.

Public Release once again plunges into the deep well of dance music talent it's hometown of San Francisco has long fostered for Moon Replacement, the debut single by Anderson Chase, two originals wrapped around a couple remixes of its titular track.

Clocking in at over eight minutes, “Moon Replacement” is a tense, drawn-out affair. It coaxes you onto the dancefloor with hardedged drums that slap with a metallic clang, a steely bass throb that defines its backbone, and spindly synth noodles that creep around the crust on top. Chase’s previous life as a punk and metal drummer seeps through; this is a tenacious house boogie that trundles along at that Goldilocks BPM of 118, fast enough to snap you to attention, slow enough that you don’t lose stamina as you give into the groove.

Japanese house producer Gonno, known for his ability to graft scalpel-sharp minimal techno loops onto out-there, mindexpanding arrangements, puts his own spin on the song for the A2 slot.
He darkens the mood while zapping it with a static charge to quicken its pace. On the reverse is Mark E’s take, which goes in the opposite direction, applying some heat so the square structure’s joins start to melt, wiggle, wobble. The bottom is still stocky, a molten mass of heavy-duty bass energy, but the melody that dances around the top is airier and lighter, glints of sunshine through storm clouds.

And then “Between Us” arrives to stick the landing, get us back to where we started. Like “Moon Replacement,” it’s a blocky foot-stomper that directs you forward with its tireless rhythm section, though this time with an even longer shadow cast behind it.

Since 2000 Mapstation has been the moniker for the solo work of TAL Label founder Stefan Schneider. Schneider has won international acclaim as a founding member of KREIDLER and to rococo rot as well as through unique collaborational works with artists such as Joachim Roedelius (Cluster/Harmonia), Bill Wells, Katharina Grosse, Dieter Moebius (Cluster/Harmonia) Sofia Jernberg or Jochen Irmler (Faust). There has not been a new Mapstation release since 2009's THE AFRICA CHAMBER which had former FELA KUTI member NICHOLAS ADDO-NETTEY on percussion.

The new album PRESENT UNMETRICS, is not entirely a stand-alone creation either. There are guest appearances by THOMAS KLEIN (KREIDLER) on percussion, MICHAEL ACHER (THE NOTWIST) on Sousaphone and an outstanding vocal contribution from japanese singer HACO, all deeply woven into the digital topographics of the music.

PRESENT UNMETRICS offers a collection of radically subtle music. The guiding principle of the album was to construct direct and nuanced tracks which embody a sense of open-ended incompleteness and heterogenous dynamics.

Out of sync bass arpeggios, infused with uneven rythms, fractured synth stabs and intimate melodies, frequently created here with a Schlumberg sine wave generator, are continuously engage with experimentation, both on sound and structure.

Expertly pieced-together and produced in timeless fashio, PRESENT UNMETRICS displays all the coherence and artistic authority of an album on a constant quest so vital to the music of Mapstation. An album that couldn't have been made by any other than Mapstation.

‘I Want You To Be Mine’ has all the hallmarks of classic 1960’s Rocksteady, an era which many refer too as the Golden Age of Jamaican music. Over the top of a live one-drop beat, cool & deadly sax and warm analog guitar & bass Deemas J rides the riddim in a ‘old time style & fashion’ whilst Rachel Wallace provides the perfect accompaniment with her gorgeous vocal. On the B-Side we have the deeper cut ‘Questions’, where Deemas delivers a poignant poem over Adam Prescott’s moody instrumental in the style of Linton Kwesi Johnson. Featuring live instrumentation from Harry ‘Papa B’ Bradford (Sax), Clifford Junior (Guitar) & Guillaume Metenier (Hammond Organ). As an integral part of the Reggae Roast Soundsystem team Adam has established himself as one of the finest selectors in the world. Initially with some early support and guidance from Mark Iration (from the Leeds based Iration Steppas), Adam was quickly recognised as one of the key players in the re-emergence of British Reggae, producing first class original songs featuring the likes of Cornel Campbell, Macka B, Sugar Minott, Ranking Joe, Rod Taylor, Johnny Osbourne & Earl 16 to name but a few. Add to that consistent play on BBC Radio One & Rinse FM plus huge support from Sir David Rodigan, featuring Adam on his ‘Best Of British’ show on 1Xtra, Adam has become one of the hottest prospects in the revival of soundsystem music. Deemas J has built a formidable reputation as a go-to MC & vocalist with equally genre-busting credentials; His background in Reggae & Jungle means that his lyrical skills and style holds no bounds. He currently works with 3 of the top London Reggae Soundsystems, Unit 137, Reggae Roast & Solution Soundsystem as well as running his own Sound Limey Banton Bass in Guernsey. He has released music on some very well known labels such as Irie Ites, Irish Moss & Tru Thoughts, which released the cult LP ‘Wrongtom Meets Deemas J in East London’. More recently his latest release ‘Muhammed Ali’ received fantastic support from Don Letts, Sir David Rodigan & Ras Kwame. His virtually endless CV boasts collaborations with everyone across the worlds of Drum & Bass, Old School, Garage, Reggae and Hip hop, including High Contrast, Andy C, DJ EZ and Nick Manasseh to name just a few as well as touring the world with Manudigital

The Panda Men were an ancient warrior cult, fabled to roam the deep African forests in search of the elixer Bonfirma which would grant them super human strength, allowing them to transform into Pandas and thus continue their bloody reign. This classic early Legowelt is finally back in print for the first time in 13 years, celebrating Creme's 20th birthday!

Here is another amazing old skool reissue from Underground Music. This time from a label setup in 1993 called “Faceless Productions”. This EP has 3 classic 90’s old skool tracks that have been recovered from the original DAT master! Sounds better than the original pressing due to the amazing work from Finyl Tweek with the mastering. With prices upwards of £100 to grab a copy of the original it was well worth a reissue to make it available at a reasonable price for all the Djs & collectors!

Originally slated for release in 1993 by Super Doppler Communications. It was primitively programed on 8-track sequencer then recorded on a 4-track tape machine in Hani's spare bedroom studio in Denver, Colorado. 26 years later, now Hani's name became internationally known & till this day he continues to produce & remix under many aliases while running his own label Soterios Records. In 2017 Hani started receiving several purchase requests from seekers of this nameless track from Jeep Warehouse Beats Vol:1 on B-side called 'Vector Selector'. During the search for the master DAT, Hani found this extended version now available for the first time on Jeep Warehouse Beats Vol:1.5. Included on the B-side is a track never before released from the same year 1993 that was slated for a single release. We are happy to make both tracks available with some help from Synchrophon in France.
Limited Edition 200 units with Unreleased Veggi Grooves from 90's & Extended Version of Vector Selector. Be quick !


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Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Cinematic Vintage Synth and live drums project by Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum, Lanu). Turquoise coloured double LP incl. download card, limited to 300 copies worldwide.Imagine drummer Bernard Purdie playing with Ryuichi Sakamoto, or perhaps Clyde Stubblefield joining Cocteau Twins. An immersive album that recalls Boards Of Canada, Four Tet, Air, and Tycho.

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

It's been 20 years since 'Soul Brother Records' first celebrated the music of Leon Thomas with the "Anthology" collection.
It is also 50 years since the acclaimed avant-garde jazz singer first recorded "The Creator Has A Masterplan" with Pharoah Sanders.

Today his music is as renowned and sought after as ever, and the time could not be better for the pairing of these two songs on 7" single.

Both come from his time at Flying Dutchman in the early 70's and fully reflect the individuality and creative spirit of this masterful vocalist.
Both tracks are reissued here for the first time, originals commanding a sale price of £50.

Sauce Combo is a powerful and dynamic jazz trio lead by Marcjean, saxophonist from Bestown (Besançon), sided by the mercenary drummer Tom Moretti and the melodious
Victor Pierrel on bass. The trio's music takes place in the modern jazz renewing coming especially from England and the USA. France has now a champion. Inspirated by vintage african and west indies jazz, 70's jazz funk and fusion but also 90's drum & bass, broken beat and hip hop, the repertoire is a rich jazz bomb exploding to the
ears. Each second brings its his new colorful burst to admire. The band's brilliant game makes it a living listening experience. The music is rich and versatile but cohesive and united. Why?
Crash Test came to light in one day during a single 7 hours recording session at the Honey For Bear laboratories. Arnaud Bataillard, the sound's engineer, wanted to try several new
tubes and audio gears added in his studio set up. The trio went to test it in a crash test session. All the recordings could have been compromise somewhere but... What was before planned as a try ended into a fantastic album. The mental disposition, while playing
when you know that all can be lost in a minute, gave the musicians the proper dimension to express their feelings in a total freedom. They were playing for pleasure and without any pressure. It was for all, but it could have been also for nothing. And we can literally feel that. This unique record had to be release as soon as possible to transmit the freshness of this beautiful impact to the listeners. Above all, Clément Laurentin's "Equilibre Précaire VI" achieves this album, offering a painting with four figures at the edge of the fall, in a constant imbalance, playing with time and gravity. It's the perfect allegory for the three band's members plus the engineer while making this record.

Two years after an acclaimed first album, Al Sunny and Favorite Recordings proudly present Planets, carrying on their collaboration and bringing it to another level.

Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs’ melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings.

It resulted in 2017 in Time to Decide release, a dazzling first album establishing Al Sunny’s music and writing style, looking towards the 70s and 80s Westcoast movement, infused with Blue-Eyed-Soul, Pop and Folk flavors. Built on the same influences, Planets is made of 8 new compositions (including a CD and digital bonus), and is clearly a continuation of its cadet, asserting Al Sunny’s talent and singing skills.

Fully recorded live and analogic in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars and keyboards harmonies, Planets just perfectly meets the AOR and Modern-Soul golden era standards.

R.Zee Jackson, a born Jamaican spent his early childhood in Clarendon and later in Old Harbour, St. Catherine, Jamaica, West Indies. In 1975, as a student, he moved to Canada with his Mom. There he met Oswald Creary of Half Moon label and studio. At Half Moon studio, he recorded the original tracks of ''Long
Long Time'' released as a 12'' vinyl record on his own label ''Ital''. Esso Jackson also recorded at ''Dub World'', the dubplates cutting studio in Toronto. All the sound men from all over came to see ''Snipa'' the dub cutter; “It was great, dancehall was rocking in Canada. We have it lock with all the big sound systems and artists from all over the world”. One day, the keyboard master Jackie Mittoo say to Esso “you can't stay cold up yourself in
Canada”. Because R.Zee had many family in the UK, it was easy. So he decided to see what was going on in London. In 1980 he released the album Trodding, produced by Mike Brooks (Teams / Coptic Lion). Few years later, he released "Ina South Africa", a heavyweight digital reggae to fight against Apartheid and also "At The Reggae Party", a pure dancehall anthem to mash up the dance. The songs were recorded at Utopia studio (London, UK) in 1985.

Jarle Bråthen returns to Ivaylo's Bogota imprint with two original tracks accomplished with outstanding remix from another Norwegian fellow, Kim Dürbeck! Known for it's transmittable deep sound, Bogota Records delivers another timeless release!

Influential UK artist Man Power makes his Skint Records debut this December with a thrilling new offering featuring Berlin’s Private Agenda.

Man Power is a true electronic virtuoso who has proven he can do searing acid, raw techno and expressive disco with equal elan.
As well as running his own Me Me Me labels, he has appeared on top outlets like ESP Institute and Correspondent and now impresses once again with the help of Berlin’s Private Agenda.

The electric original version of ‘Do It Thin’ is an intense and steamy affair with Eurobeat synths and Italo piano chords that are sure to make a huge impression on the crowd. Vocals that Bronski Beat would be proud of soar to the heavens and get hands in the air whilst the hard hitting drums drive things forward.

Dramatic chords build the suspense, leading you towards an epic, guitar laden breakdown with well sequenced synths adding weight and colour. Edgy and expressive, it is a real stomper with a fusion of myriad different styles.
An instrumental version is also supplied that removes the vocal and allows the studio skills and musicianship to really shine, this was a showstopper in Man Power’s recent Boiler Room set and it not to be missed.

Man Power marks his Skint debut here with the same sense of timelessness and quality that has defined his career to date.

“Osondi owendi. What is cherished by some is despised by others. One man’s meat is another man’s poison. Different strokes for different folks. To each their own. Osondi owendi.

It’s a conventional aphorism in the Igbo language but if you utter the word “osondi owendi” in Nigeria today, the first thing that comes to anybody’s mind is the cucumber-cool highlife music maestro Chief Stephen Osita Osadebe and his legendary album that takes its name from the adage. Released in 1984, Osondi Owendi was instantly received as Osadebe’s magnum opus, the crowning event of an exalted career stretching back to the early years of highlife’s emergence as Nigeria’s predominant popular music.

Stephen Osadebe first appeared on the music scene in 1958 as a spry, twenty-two year-old vocalist in the Empire Rhythm Skies Orchestra, directed by bandleader Steven Amechi. With his dapper suits, urbane Nat King Cole-influenced vocal stylings and jaunty, uptempo, calypso-scented dance tunes, he personified the frisky spirit and anxious aspirations of a young, educated generation that had come of age in the wake of the Second World War, in a Nigeria that was rapidly shaking off British colonization and marching towards an independent future. 1959 would be the year that he truly made his mark in the business with his debut solo single “Lagos Life Na So So Enjoyment.” A giddy exhortation of the music, sex, fun and freedom availed by life in the big city, the song became a sensation and an anthem, and Stephen Osadebe became the leader of his own popular dance band, the Nigerian Sound Makers.

Osadebe would ride this wave of acclaim through most of the nineteen sixties, but a change in direction would be called for at the dawn of the seventies. As Nigeria emerged from a devastating civil war, so did a new generation of youth inspired by rock and funk, confrontational sounds reflective of a more violent, less idealistic era. All of the sudden, the idioms of the post-WWII dance orchestras that nurtured Osadebe’s cohort seemed quaint, the stuff of nostalgia. Osadebe needed to evolve to respond to the new tumultuous, turned-up times.

His response? He cooled it down.

Abetted by a new crop of fire-blooded young players, Osadebe slowed his music to a mellow, meditative tempo, brought forward the lumbering, Afro Cuban-accented bass and percussion, from the rockers he borrowed searing lead lines on the electric guitar. Over this musical bedrock, doesn’t so much as sing as he dreamily muses, coos, sighs aphorisms, words of wisdom and inspiration. “When one listens to my music, all I say appears meaningful,” Osadebe explained his lyrical approach, “at times they are in the form of proverbs which provoke much thought afterwards.” The result is a blend that is both rollicking and soothingly languid. Osadebe christened the style Oyolima—a tranquil, otherworldly state of total relaxation and pleasure. Osondi Owendi represents oyolima at its finest, and possibly Nigerian highlife in epitome.

Osondi owendi. What is cherished by some is despised by others. In some way, the album’s title constitutes a paradox. Because Osondi Owendi is a record that it’s almost impossible to imagine being despised by anybody."

Voluptuous and catchy, Bronswick creates hauntingly electro songs and realistic sound fiction, with hints of both pastel and charcoal. Together, immersed in a creative connection revealed by their first EP Errances (Lisbon Lux Records), Catherine Coutu and Bertrand Pouyet are creating timeless pop sounds, between new-wave urban electro and synth-pop.

They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

“Beautiful, beautiful. Magnificent desolation.”
(Buzz Aldrin’s first words when he joined Armstrong on the surface of the moon) Now that the world has come to a standstill please let us guide your attention towards this special 12”. Round and ever-turning like the moon, it rests on the record player. Move the tonearm and the disc will ooze strangely comforting tones.
Exuberant, yet melancholic at the same time.
RSS Disco have created a psychedelic, blissful jam that moves currents & constantly changes shape. Meandering voices inhabit the sphere, a pumping bassline secures the foundation. The warp core is frail at this power level but seems to be holding up.
Frequencies unravel, the bridge heats up. This must be fairy dust made of moon rocks.
On the dark side of the moon, we find ?Aera (Permanent Vacation, Innervisions) ?with his signature arp-fest. Elevating the original track form the surface to the stars, we have left home and there is no intention of ever coming back.

“The third part of our "Ode To The Soundsystem" is here and the abstract sound of the last Ossia album is no longer evident. The influence of the early Disciples 12"s shows up for the first time, with a Drexciyan connection happening on the b-side, creating one of the most lethal and militant 12"s that we have ever released. Ossia is back on Berceuse Heroique and we are very happy about it.”

Remastered and reissued for the first time since their original release, AOTN are proud to present three classic cover versions from the lovers rock era. Al Charles' take on the Gap Band's 'Outstanding' is a full of swagger outing that takes all the sweetest of their melodies and gives it some added bass pressure for the dancefloor.

Tough to track down previously, the Sonia version of 'Easier To Love' was always a favourite amongst lovers fans. After getting a spin on Sam Floating Point's NTS show, its popularity soared and any remaining copies were quickly hoovered up. The final release brings together two of the finest lovers singers to ever duet, the late Jean Adebambo and Trevor Walters, covering Roberta Flack & Donny Hathaway's 'Back Together Again'.

The first press of the 12 comes in a printed AOTN sleeve which is a respectful tip of the hat to the OG dub vendor disco sleeve that many of these original 12s were distributed in.

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

Early Days maps out Nine Circles interpretation of Cold Wave and Minimal Synth. Unbelievably the tracks are mostly from a brief time period, ’80—’82. Alienation and uncertainty course through the 2LP with heavy Yamaha chords, metallic machine beats and brittle vocals.

Nine circles was formed in the early 80s by Peter Van Garderen and Lidia Fiala. In 1980 there was a band called Genetic Factor. This band split up when their three members got girlfriends and they started to make music together with their girls. So at that time there were 3 bands living together in one house.

One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within 2 years they wrote about 60 songs.

Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called „Spleen“ where he gave New Wave bands a chance to play. He asked bands to send tapes to him and the best bands had the opportunity to play live at the radio and also got the chance to be on the „Radio Nome“ compilation. Peter and Lidia sent their tape to him and were the only ones from this house to be on the show. Richard knew their music was special. Nine Circles never played a live show on stage, only one concert live at the radio which is also featured on this LP.

Two years later Peter and Lidia split up and Nine Circles disappeared. In 2009 Lidia’s son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he had a different life but he was supporting Lidia and liked that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made together back in the days. The best tracks are collected on this 2LP.

Together with Per-Anders Kurenbach Lidia revived Nine Circles. They recorded new material (released on the album „Alice“) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless they‘re working on a follow-up album called „Emerge“ which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.

“We seem to be caught! Trapped, somehow…”
Published for the first time on audio, Demon Records presents a narrated full-cast TV soundtrack, starring William Hartnell as the Doctor in one of his most weird and wonderful adventures!
In this vintage 6-part adventure, first shown on BBC TV in February and March 1965, a strange magnetic force pulls the TARDIS down to the craterous surface of Vortis. The Doctor and his friends learn that the planet has been invaded, and the parasitic Animus is slowly enveloping it in a web-like domain. The giant ant-like Zarbi are under its control, whilst the butterfly-like Menoptra are battling to reclaim their planet.
Presented across 3 x heavyweight 180g pieces of pink vinyl, this narrated TV soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. The alien ambience of Vortis, the insistent chirruping of the Zarbi, and the supernatural voice of the Animus are all accompanied by the eerie sonics of Ron Grainer & Delia Derbyshire’s theme tune.
Written by Bill Strutton, this was the Doctor’s most exotic and lavish adventure yet. Linking narration is provided by Maureen O’Brien (Vicki) and the cast includes William Russell as Ian, Jacqueline Hill as Barbara, Martin Jarvis as Hilio and Roslyn de Winter as Vrestin. Accompanying the pink vinyl LPs are full episode billings, cast and credits, and eight illustrated
panels form a superb artwork montage. This is a first-time audio release for this very special
adventure. Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Aviador Dro are without a doubt the most avant-garde and influential techno-pop band from Spain. They started in 1979 and this year are celebrating their 40th anniversary playing shows, re-releasing some old works, publishing a book and also a new album.

“Acción Contra El Pasado” was recorded in Madrid in December of 1980 and is one of the oldest live performances of which there is a recording evidence. This concert is legendary not only for its age, but also for including some unreleased songs, a couple of early covers by Kraftwerk and Sex Pistols and vintage versions of classics tracks.

“Aviador Dro y su Maquinaria Humana” (exactly as it was announced on the original flyer) was formed at that time by Biovac N, Fox Cicloide, Placa Tumbler, Derflex Tipo IARR, CTA 102, X, Metalina 2 and Cyberjet. A priceless piece of history restored and remastered from the original cassette recorded directly from the mixing desk.

Limited edition of 400 copies with a A2 size colour poster.
Drawings created by the Polish artist Michał Arkusiński.

2024 Backstock

After having released several solo works of both artists, Dauw announce the first collaborative full album by The Humble Bee & Benoît Pioulard; 'I suppose I'm your future'.

Both artists hold a very special place in the history of the label. The Humble Bee was already present from the very beginning and, in hindsight, definitely has put an important mark on the musical aesthetics we've been developing throughout the years. On the other hand, we crossed paths with Benoît Pioulard several years ago through our ongoing Living Room Concert Series in which he offered one of the most magical evenings to date. Given their mutual love for the tape medium and melancholic compositions, we only had to connect the dots as we were pretty sure that some magic was up in the air.

It goes without saying that we were uttermost happy when they both accepted our invitation to work on a collab album. Even though we didn't know where their efforts would end, it already felt like a victory that we, as a label, were able to link these artists. Above all, the art of curating can be considered as an essential feature of running a label but for us it is also the most wonderful part about it. Linking artists to each other, like we also did in our Dialog Tapes or Illuminine Reworks series, even goes a step further as it makes new connections, pushes boundaries and ultimately can result in an unexpected enrichment of the musical field.

"I always look forward to the Dauw collaboration releases. Most of the creativity for these lays within their curation: it brings together artists that, although arc in the same orbit but somehow never cross paths. The beauty of collaborating is that we learn from having to give space to another creative force, working alone we fall back on what we know and what we have already done. Although I wasn't paired with Tom for earlier projects, the guys at Dauw thought (and rightly so) that it was about time we crossed our musical paths for an lp." (The Humble Bee)

Local Talk is back again with a fantastic album from Soulphiction who gets deep, down and dirty with this bumping selection of timeless house tracks across 3 pieces of beautifully packaged vinyl...

Dusty grooves and soulful emotion form the foundation of this release, which also takes influence from Jazz, Hip Hop and Afrobeat.

Soulphiction aka Michel Baumann is one of Germany's most respected artists who is also known under the equally successful and iconic alias Jackmate.
This is the third time Soulphiction has featured on Local Talk including his recent single "Beehive". Other labels to have featured Soulphiction tracks and remixes include Lumberjacks in Hell, Rebirth, Pampa and Philpot Records.

A master of both mood and texture, this release showcases the studio wizardry of a true sound-smith.
Chunky percussion with shuffling rhythms form the backbone of the grooves, which are fleshed out with intricate melodies and funky basslines that move mind, body and soul.

Like the tracklist of a J Dilla mixtape, this album flows with a purposeful care combined with a storytelling blend of emotions rarely heard in a house music long player.

Executed to perfect precision, this album is an instant classic and a must-have for home listening along with a club setting.

Bitter End continue to rip up the rule book with a genre defying output that's STILL far better than the rest

Release No.11 hits the ground running with a whiteboy Disco-Funk bomb on the A, a relentless gallop with soaring synth work and an unwavering commitment to uniting sweaty bodies.

BU BU YAM YAM on the AA is an equally irresistible Jazz-Funk looper which harks back to a time when spats and talc Jazz-dancers vied for space in the dark with saucer-eyed rave explorers.

Dependably incendiary !

As always, limited and LOUD

Coming into orbit late November PS001.2 continues the dancefloor focussed explorations of one of Australia’s most loved new labels, Pure Space. Just in time for the Aussie summer the release highlights the sound of the new generation of electro and broken-beat producers emerging from the countries east coast.

On the A-side Point Guard returns to the label with his razor-sharp electro outing ‘Odyssey’. An emotional expedition that harnesses dancefloor euphoria with a powerfully burning bassline. Joining forces to complete the A side is Melbourne producer Disrute and label head Andy Garvey. Here an ever-evolving synthline propels you forward throughout the track that builds infinitely but pauses just to release Garvey’s mesmerising vocal, ‘NRG’.

Flip the axis and you will find swirling synths and scattered percussion that creates the murky club weapon that is emerging Sydney producer PMA’s ‘Hek’. Completing the release, Roy Mills brings you to a full rotation with ‘Aquatic Pressure’. His jittery breakbeat cut that slows to a half step mid way and returns with odd-ball synth mayhem.