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Switch is the tenth studio album by Dutch rock band Golden Earring, released in 1975 as the follow-up of the band’s international breakthrough album Moontan. Switch actually marked a switch for Golden Earring, as it was more influenced by funk and prog than any of the band’s previous or subsequent releases. Lead single “Kill Me (Ce Soir)” perfectly demonstrates how Golden Earring experimented with a new sound. This reissue comes with a 4 page insert. Switch is available as a limited edition of 1500 individually numbered copies on transparent blue vinyl.

Abbey Lincoln, often remembered for her seminal work with Max Roach, was a powerful performer and indeed one of the greatest Jazz voices of all time. "Straight Ahead" stands as one her best albums. Lincoln is matched here by a ultra-stellar line up including Jazz masters such as Booker Little — trumpet, Julian Priester — trombone Eric Dolphy — alto saxophone, bass clarinet, flute, Walter Benton and Coleman Hawkins — tenor saxophone, Mal Waldron — piano, Art Davis — bass, Max Roach — drums, Roger Sanders and Robert Whitley — congas. "Straight Ahead" is the perfect combination between Lincoln 's strong "Afro-Blue" tone singing, conscious lyrics and angular modern Jazz arrangements. Recorded in New York in a one-off studio session held on February 22, 1961 and released by Candid Records in the same year, the album includes highlights such as Oscar Brown jr's "When Malindy Sings", Thelonious Monk's "Blue Monk", Billie Holiday and Mal Waldron's "Left Alone" and "African Lady" a Randy Weston composition based on lyrics by the great writer Langston Hughes.

This album from the late 60's features Eddie Boyd backed by some of the best British blues musicians of the time. Player on this album include John Mayall, Tony McPhee, Peter Green, John McVie (Peter and John later known for their involvement with Fleetwood Mac) and Aynsley Dunbar - one of rock's most definitive drummers having played with John Mayall's Bluesbreakers, the Jeff Beck Group, Frank Zappa, and Journey before joining Jefferson Starship for three albums. The album was produced by the legendary Mike Vernon.

If you can feel a chill in the air it must mean there's more arcane sorcery being cooked up in the Blind Allies labs. This Latvian label are surely providing some of the strongest strains of pitch-black underground electro from lesser known operators in the machine funk catacombs. On this new various artists 12", White Mane Horse and Deputy Bender fire off sleek and sinister rhythms while UHU has a little tongue in cheek fun behind the veil of icy whispered vocals and nervy bleeps on "No Body Knows Electro". Theory Of Noise sound taut and robotic, Olloy keeps things plush but noirish, Rnbws fires off a high-definition sound and Theory Of Noise returns for the simply brilliant "Mission".

The debut album from GEORGIE SWEET soars effortlessly over lush, soulful hip-hop from RAPSON & MECCA:83, while K15 provides futuristic funk & SIMON S turns in moody jazz tones. GEORGIE shares vibes with JILL SCOTT & HIATUS KAIYOTE & sonics with THUNDERCAT, MICHAEL MCDONALD & more.

Founded in 1996 by the German-Nigerian lead singer Ade Bantu, his brother Abiodun Odukoya and Patrice, BANTU have been one of the West African acts transforming the legacy of King Sunny Adé and Fela Kuti into the soundtrack of the continent. The group is distinguished by the fact that while created and fronted by vocalist Ade Bantu, it is unmistakably a collective, collaborative effort. When you have a band this strong, this tight where everyone gets to shine, magic happens. And once again with this new album, the 13-piece ensemble is pushing the boundaries of funkiness and political prowess for contemporary music, in Africa or globally.

From their first release, “No Vernacular in 1996 to the present, BANTU has scored a series of hits across Europe and Africa garnering major awards. Indeed, the list of artists who've collaborated with BANTU is a testament to the power, originality and talent of the band: an international cornucopia including UB40, Tony Allen, Orlando Julius, Brothers Keepers (which they created), Gentleman, Ebenezer Obey and Burna Boy just to name a few. These collaborations helped the band earn several major Continental awards, including the Kora Awards (the Pan African equivalent of the Grammys) for “Best Group West Africa” and “Best Group Africa”.

Their latest release Everybody Get Agenda is nothing short of a musical sensation - Afrobeat, Funk and Soul seamlessly flow into one another as they merge with Jazz, Highlife, Hiphop and Yoruba music. The lyrics address issues around corruption, injustice, migration, xenophobia and urban alienation while a guest appearance by Seun Kuti on “Yeye Theory” rounds up this solid long player. There is no doubt that with Everybody Get Agenda BANTU has not just charted new musical territory but reached it and planted the flag.

Southern Lord announce Crush The Machine, the debut EP from West Coast hardcore punk collective D.E.A (Dead End America), formed by the late, great Steve "Thee Slayer Hippy" Hanford of Poison Idea, with current and former members of Queens Of The Stone Age, Eyehategod, The Accüsed A.D, World Of Lies, Ape Machine, and more.

Captured before Hanford’s passing earlier this year, D.E.A's debut shall be released on 7" and digital EP on 30th October (Non-Returnable) Recording details, liner notes from Mark Lanegan and more info below.

Crush The Machine sees the primary writers, drummer/vocalist Steve Hanford and guitarist Tony Avila (World of Lies, Why Won't You Die, Aborted Cop, Here's Your Warning) joined by lead guitarist Ian Watts (Ape Machine, Minmae) and bassist/vocalist Nick "Rex Everything" Oliveri (Mondo Generator, The Dwarves, ex-Kyuss, ex-Queens Of The Stone Age), with additional lyrics and vocals from Mike IX Williams (Eyehategod, Corrections House, Outlaw Order) and Blaine Cook (The Accüsed A.D, The Fartz, Toe Tag).

"A perfectly appropriate title for this 7 inch EP of jack-hammering, oldschool style hardcore tunes released by Southern Lord, written and played by a rogues gallery of real deal music lifers as a condemnation of the criminal Trump administration and republican party, in the same spirit of those by-gone days when Ronald Reagan or George Bush was the crooked, self-serving president of the crumbling United States empire. Never before has there been a more obvious target, as Donald Trump and his mafia family cabinet rape the country while Rome burns. D.E.A. is Tony Avila, Ian Watts, Nick Oliveri, Mike IX, Blaine Cook and the legendary and beloved, late producer and drummer of Poison Idea, Steve "Thee Slayer Hippy" Hanford. Dying shortly before the completion of this record, it stands as a final testament to his genius, one last hot-wired blast of his epic musical brilliance."

Mark Lanegan
Los Angeles
August, 2020

"From Nishinari Osaka Japan Weird Wild Obscure Spooky exotica burlesque toy junk Muzak Trash One Man Band music made with broken cassette desks and fucked up record players feat members of (Acid Mother Temple)" - VRR 20202 Vinyl LP, starker Karton, bedruckte Innenhülle, Download inklusive. Willkommen in der wilden obskuren und seltsamen Welt von DEGURUTIENI und seiner ONE MAN BAND. teuflisch exotischer Striptease Kinder Spielzeug Krach mit ausgedientes Tonbandgerät und zerbrochenen Plattenspielern mit Mitgliedern von ua Acid Mother Temple in einigen Songs. Dies hier ist eine Zusammenstellung mit älteren Songs (selbst Veröffentlichungen und auf kleinst Labels) und viele neue Songs die noch nie vorher veröffentlicht wurden. Ich dachte, es ist an der Zeit, dass die Welt etwas über DEGURUTIENI erfährt (ich hatte Wochen, bis ich seinen Namen richtig buchstabieren konnte, hahaha ) Er tourt ständig durch die ganze Welt (pre Covid-19) und tritt in regulären Konzertsälen sowie in Theatern, Kunstgalerien oder sogar auf der Straße auf. wenn man ihn zum ersten mal sieht ist es eine Lebens Erfahrung die man nicht wider vergisst und es bleibt ein großes Lächeln im Gesicht und ein verzerrtes Fragezeichen in deinem Gehirn. Alco Degurutieni wurde Ende der 60er Jahre im Nishinari Ghetto von Osaka geboren (Alco Degurutieni: Diese Zeit in den 1970er Jahren war eine harte Zeit für alle, einmal im Monat Unruhen auf den Straßen. Rot Licht viertel Prostitution und die Yakuza-Mafia waren uns vertraut. Diese Erinnerungen an ein jugendliches Chaos sind seitdem ein Katalysator für mein Peter-Pan-Syndrom.) Degurutieni schafft Harmonie durch Gegenüberstellung, indem er ihnen Melodie aus Chaos und Dekadenz aus Abfall extrahiert. Mit 13 Jahren bekam er seine erste Boombox und wurde der beste Kunde in seinem örtlichen Leih-Platten und Trödler laden. Er arbeitete sich durch alle Genres von den Beach Boys bis zum Black Sabbath. Ab 16 Jahren begann er, seine eigenen Songs mit den einzigen Dingen zu kreieren, zu denen er Zugang hatte; Müll, umgebaute Kinderspielzeuge und ein ausgedientes Tonbandgerät. All dies spielt noch heute eine wichtige Rolle in seiner Musik. Auf diesem Album findest du ,Acme in the afternoon, ein komplett Hit, Tom Waits Blues Jazz Burlesque, dann mit ,Blur Blur Blur, hörst du ihn super minimalistisch und verloren im All Blues, oder den unglaublichen ,Midnight Express' mit einem orientalischen Trash-Flair der dich in einen neuen Blade Runner film katapultiert, und Zigeuner Fanafare und Rock'n'roll in ,13th Floor City ' zusammen mit: Orchester du Belgistan (aus Belgien) oder mein favorit ,Dreaming party' das wie ein psychedelischer horror film Soundtrack daher kommt LINE UP Alco Degurutieni (mostly all instuments) aditional Musissians on the Album Jyonson Tsu (ACID MOTHERS TEMPLE) Machiko Kuniki (Sujiko Sumoguri) Akiyoshi Kajitani (MOHIKAN FAMILIES) Atsushi Sekitani Watanbe (BRO TÜRK,PATO LOL MAN) Naoya Takami (Ichibanboshi Crue) Kwandae Park (UMA UMA UMA) Akira Ohno Tadahiro Ishihara Keigo Matsunaga (Rock'n'TASUKE'Roll & THE CAPTAIN SWING,MOHIKAN FAMILY'S) Tom Manoury (Orchestre du Belgistan) Mbengue Ndiaga Jordi Grognard (YOKAI) Akiko Igaki (TAYUTAU,COLLOID) Kiri Mochida Takeo Touyama (PATO LOL MAN) Shuichi Hirose (HUMNED) Takeo Touyama (PATO LOL MAN)

Blue vinyl includes mp3 download, 12 x 24 inch poster: Some say life only makes sense in reverse, from the vantage point of your rear view - Magic Mirror is a looking glass of sorts. Like a modern day Alice in Wonderland, Pearl Charles beckons you to slip and fall into her world. You'll find yourself drifting with the tide - the ups, downs, and all-arounds of a life well-lived and well- loved. From start to finish you float along a reflective river, dancing in your own/the personal/private Studio 54 of your living room, decked out in sequins or nothing at all. It's a feel good album that asks us to actually take the time to feel good. Magic Mirror follows the cartography of a girl, growing into a woman, as she moves through life from singledom, to the expansive space of self-reflection, and the newly appreciated perspective of coming back together again and finding yourself, this time with someone new. A love letter to the self, a dance party for life, and at times as introspective as your best trip, Pearl takes us on a journey that, like life & love, has the tendency to surprise, delight, and leave you breathless. All you have to do is let yourself enjoy it.

LTD. CLEAR VINYL

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

Mit der BLUE NOTE CLASSIC VINYL SERIE wird die Reihe preiswerter Blue-Note-LPs fortgesetzt! Die audiophile TONE POET SERIE von Blue Note ist ein großer Erfolg, aber richtigerweise will das Label seinen Fans nicht nur diese entsprechend hochpreisigen Spezialitäten bieten. Daher wird ab sofortzusätzlich die BLUE NOTE CLASSIC VINYL SERIE die großen Klassiker des Labels zu einem guten Preis und nicht limitiert veröffentlichen. Die bei Optimal gefertigten 180g- Pressungen sorgen auch hier für eine sehr gute Qualität.

Der BIG THIEF-Gitarrist BUCK MEEK veröffentlicht mit "Two Saviors" sein zweites Soloalbum. "Two Saviors" entpuppt sich als ein geradezu kathartisches, nacktes Geständnis von Herzschmerz, Widerstandsfähigkeit und Verzauberung. Produziert wurde das Zweitwerk von Andrew Sarlo, der bisher auch für alle BIG THIEF-Alben verantwortlich war. Sarlo schlug vor, das Album während der heißesten Zeit des Jahres in New Orleans an nicht mehr als sieben Tage auf einer 8-Spur-Tonbandmaschine live aufzunehmen. Die Takes gab es bis zum letzten Tag nicht für die Musiker zu hören. Das Ergebnis zeichnet sich durch eine rohe und menschliche Qualität aus.

Der BIG THIEF-Gitarrist BUCK MEEK veröffentlicht mit "Two Saviors" sein zweites Soloalbum. "Two Saviors" entpuppt sich als ein geradezu kathartisches, nacktes Geständnis von Herzschmerz, Widerstandsfähigkeit und Verzauberung. Produziert wurde das Zweitwerk von Andrew Sarlo, der bisher auch für alle BIG THIEF-Alben verantwortlich war. Sarlo schlug vor, das Album während der heißesten Zeit des Jahres in New Orleans an nicht mehr als sieben Tage auf einer 8-Spur-Tonbandmaschine live aufzunehmen. Die Takes gab es bis zum letzten Tag nicht für die Musiker zu hören. Das Ergebnis zeichnet sich durch eine rohe und menschliche Qualität aus.

“If you have a vacancy for Favourite New Band, Pom Poko would like to apply for the role,” tweeted Tim Burgess in April, as Norway’s finest punkpop anti-conformists revisited their joyous debut album, ‘Birthday’, for one of Tim’s mood-lifting Twitter listening parties. Pom Poko pimp their CV on all fronts with their glorious second album, ‘Cheater’. Between the quartet’s sweet melodies, galvanic punky ructions and wild-at-art-rock eruptions, ‘Cheater’ is the sound of a band celebrating the binding extremes that make them so uniquely qualified to thrill: and, like Tim’s listening party, to fulfil any need you might have for a pick-you-up.

As singer Ragnhild Fangel explains of the leap from ‘Birthday’ to ‘Cheater’, “I think it’s very accurate to say that we wanted to embrace our extremes a bit more. In the production process I think we aimed more for some sort of contrast between the meticulously written and arranged songs and a more chaotic execution and recording, but also let ourselves explore the less frantic parts of the Pom Poko universe. I think both in the more extreme and painful way, and in the sweet and lovely way, this album is kind of amplified.”

The sound of four distinct personalities driving in divergent directions towards one destination, the result is an evolved snapshot of the bracingly contrary chemistry forged when Fangel, Tonne, Jonas Krøvel (bass) and Ola Djupvik (drums) united to play punk during a jazz gig at a literature festival in Trondheim (the band-members studied jazz there).

Along the way, the band drew praise from NME, Interview Magazine, DIY, PopMatters, The Line Of Best Fit, The Independent and BBC Radio 6, where Miranda Sawyer was moved to note that “‘Birthday’s ‘Crazy Energy Night’ seems to contain about 20 songs in one.” Meanwhile, a huge touring schedule included countless sold-out headline shows and a rapturously received UK jaunt with Ezra Furman.

‘Cheater’ does its predecessor proud on every front. Bursting with colour and wonky life from its cover art (by close collaborator Erlend Peder Kvam) outwards, it differs from ‘Birthday’ primarily in that its songs did not have a chance to be road-tested before going into the studio. But you wouldn’t know it. As Ragnhild explains, “That meant we had to practice the songs in a more serious way, but it also meant the songs had more potential to change when we recorded them since we didn’t have such a clear image of what each song should/could be as the last time.”

140g clear vinyl LP with PVC printed outer sleeve and digital download code.

Tony Fruscella was an under-recorded mellow, lyrical, cool jazz trumpeter (think Chet Baker). He unfortunately lived a similarly addictive lifestyle that led to his tragically premature death in 1969. His cool tone, influenced by Miles Davis and swing-era veteran Joe Thomas, made him a sideman in the early ‘50s for artists like Lester Young, Gerry Mulligan, and Stan Getz.

In 1955, the same year he recorded with Getz, Fruscella led the only session officially released during his lifetime, I’ll Be Seeing You a.k.a Tony Fruscella. He is backed here by a great horn section of Allen Eager on tenor saxophone (who played similar sounds with Gerry Mulligan), Charles Mingus’ associate Danny Bank on baritone, and Chauncey Welsch on trombone. The rhythm section is rounded out by the prominently featured piano of Bill Triglia (who also played with Mingus), Bill Anthony on bass, and Junior Bradley on drums.

Bridges To Bremen is a full-length show performed by the Stones on the fifth and final leg of the Bridges To Babylon Tour. Filmed at the German city’s Weserstadion on September 2, 1998, the band had by then completed four legs in the stadiums and arenas of North America (twice), Asia and South America before finally landing in Europe early that summer. This concert film has been meticulously restored from the original masters, and the audio remixed and remastered from the live multitrack recordings. Four tracks from their Soldier Field performances in Chicago are included as bonus features. Eagle Vision’s SD Blu-ray range presents upscaled standard definition original material with uncompressed stereo and DTS-HD Master Audio surround sound for the best possible quality. Formats include a 3 x 180gm black vinyl release. DVD details Region: 0, Picture Format: NTSC, DVD Aspect Ratio: 4:3FF, DVD Audio: Dolby Digital Stereo, Dolby Digital 5.1 Surround Sound, DTS 5.1 Surround Sound, DVD Format: DVD-9. Blu Ray: Region: ABC (all) Picture Format: NTSC, BD Aspect Ratio: 16:9 (4:3PB, BD Audio: LPCM Stereo, DTS-HD 5.1 Master Audio, BD Format: BD-50

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

Patrick Conway is made of snips and snails and puppy tails. This is his second offering for the ESP Institute. On side A, Hypersocial removes our minds from the daily online cesspool and pulls up emotions we haven’t felt for almost a year. We lost a Summer of dancing together en masse in clubs, fields, warehouses and pubs, but with this beautiful reminder of what true social synergy and collective ecstasy can physically feel like, the Bristolian by way of Berlin hits the nail right on the head (with a little help from his friends Quantum Thomas & Hoyahelper). Lush strings? Tick. Balmy chord progression? Tick. Ethereal vocal chops? Walloping bassline? Infectious rhythm? Goosebumps? Tears of joy? Tick, tick, tick, tick, tick! On the flip-side, Safety Test is surely the tougher counterpart, the warm fuzzies are traded for a ten ton bag of grit. Here, Patrick foreshadows a sonic approach we’ll hear lot more of with his debut album early next year; a combination of abrasive rhythms, processed scraps, a grab bag of stabbing bleeps and bloops, distant car alarms, ballistic fax machines, and an arsenal of low frequencies so brutal your woofers will require jumper cables. So, a heroic slab for both a block party in your brain and sunset in your soul, these two songs will bring back the Summer you just lost.

French-native Malikk debuts on Hot Creations this December with the two- track Heu Como Bailar. The EP continues a busy 2020 that has seen him release on labels such as LouLou Records and Two Many Rules.

The title track sets the tone, with punchy kicks sitting alongside driving hats. An irresistible 4x4 groove acts as the backbone, before the infectious Heu Como Bailar vocal helps whip the beat along. Rounding things off is Got The Body, an unapologetic dancefloor cut that you can’t help but dance to. Up-tempo, hard- hitting and with plenty of obscure-sounding squeaks throughout, the near five-minute number showcases the up-and-coming talent at his best.

Stephan Bazbaz heads to LOCUS to deliver his Voyage EP, backed by a remix Casey Spillman.

An artist at the heart of Tel Aviv’s blossoming house and techno scene, Stephan Bazbaz continues to showcase his skills as one of the city’s leading lights within electronic music. With releases and remixes via the likes of Djebali, hedZup and INFUSE in 2020 alone, he now closes out a fruitful twelve months with an impressive label debut via FUSE imprint LOCUS to deliver three fresh cuts in the form of his ‘Voyage EP’ – whilst INFUSE regular and LOCUS alumni Casey Spillman makes a swift return to step up on remix duties.

A low-slung and moody effort from the off, opening cut ‘300’ combines swinging percussion and icy hats whilst escalating synths and rumbling sub-bass take hold and transport the production firmly into the peak hours – unsurprisingly featuring as a stand-out track within Enzo’s sets over the past 12 months. Next up, ‘Key To Success’ offers up a groove-heavy roller, with tracky drums guiding off-kilter samples and rich piano flourishes throughout, whilst Casey Spillman’s interpretation ups the energy levels as he works punchy kicks, warping synths and menacing low-end tones to turn in a bustling remix. To close, ‘The Life’ showcases yet another side of Bazbaz’s vast production skills, opting for hazy synths and dreamy chords to round out proceedings in impressive fashion.

Azumah was the coming together of a group of talented young dancer-musicians from Soweto (South Africa) with musician and instrument-maker Smiles Mandla Makama of eSwatini (formerly Swaziland). Long Time Ago is the surprising and enticing, resultant album from 1985, recorded in the house of theatre stalwarts Des and Dawn Lindberg in Johannesburg.

Produced by David Marks (3rd Ear Music, Hidden Years Music Archive Project), Des Lindberg and Smiles Makama, this album takes us back to a priceless musical moment in the dark and wild eighties of apartheid South Africa. Smiles Makama is a gifted and visionary music-maker. He was born in South Africa but grew up in eSwatini, the small kingdom enveloped by South Africa and Mozambique on each side. He tells the story of the process leading to the recording of this remarkable album: “I was invited from Swaziland by a Soweto-based group, Azumah. … One of the members knew that there was a wizard in the mountains in Swaziland, building instruments. As I was in the mountains in my hut and then I saw people arrive. They found me. It all started there.”

Instead of simplistic images of a generic ‘Africanness’ or ‘South Africanness’ and pictures of constructed and exotic ethnic identity, a contemporary, fresh listen to this album encourages an appreciation of the composition and musical skill at play in this music. Few people speak about the individual innovation and experimentation involved in the creation of this music (or the music of Amampondo for instance). “Woza Moya” sticks out as a dark and melancholy creation, different tonally to what has come before, evoking the work of Naná Vasconelos or Don Cherry. One thing that remains the same decades later is that encouraging deeper listening to the sounds of the mbira, the nyunga-nyunga, the uhadi or makhoyane bows is still challenging. Discouraging the superficial, short-lived acknowledgement of this ‘unchanging’, ‘African cultural expression’ is the everlasting hurdle. This is made so much easier by albums like Long Time Ago: when artists create music to be loved and entangled with, to be challenged by, derived from the musical roots and structures of these instruments and then expanded upon with creative freedom, risk, humour and funk.

Azumah did this in 1985 and we have this album again today, newly released, to remind us of that moment and the moments since when musicians have urned inward and done similar. As Smiles has it: “Indigenous music doesn’t fade out. It’s just waiting to be discovered, all the time.”

light blue vinyl + purple vinyl

French ROD imprint returns with the second chapter of his "Rave Encounter" trilogy, featuring four original and exclusive bangers packed in another collectible 2x10''!

Frankfurt legend Marc Acardipane (The Mover - Planet Phuture) engages hostilities on a side with an hardcore ode to the label. Powerful breakbeat rhythms melt with hitting lines turn this "Rave Or Die" cut into a true underground and future classic anthem. Insane!

On the flip, German J. Lindenthal & R. Russino from Mental Fear Productions go dark with implacable "Constant Sorrow", a hypnotic yet doom-like song that fits pretty well to this odd period we are all living at the moment.

On the C-side, Scottish Dave Tarrida (boss of Sativae) signs his second contribution to ROD. Punishing "Rave Death Cult" skilfully combines bleepy tones to raging spirit for the greatest happiness of your neighbours!

Last but not the least, ROD mastermind Umwelt concludes the compilation in apotheosis with the rollin' "Chaos & Mayhem", a tense, brutal and oldschool masterpiece full of early 90's sounds.

If you enjoyed the first opus of "Rave Encounter", you'll 100% dig this brain-melting new release that goes further into murky industrial rave waters.

Candombe fusion, art rock and psychedelia with punk attitude.

With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Siempre son las cuatro, his fourth album, recorded in 1982 in Montevideo after a long stay in Europe, was the work that started to build Roos’ artistic personality and the first step towards mass appeal in his country.
A psychedelic album with dark and somber tones but also full of groove and punk defiance, that is quintessentially Uruguayan.

500 copies. 140 gramms vinyl, Poster included

“dego & 2000Black Remixes / Fish Factory Sessions” features two remixes from renowned broken beat innovator dego and 2000Black of “Sour Face”. One rooted in Brazilian funk and boogie and the other delving into a deeper Bruk realm, the reworkings showcase the versatility of the original track. Taken from Bryony Jarman-Pinto’s critically acclaimed debut LP ‘Cage and Aviary’, “Sour Face” focusses on the wider frustrations of everyday life; “of break ups, environmental issues, the album and myself” she confesses.
Alongside a selection of beautifully recorded as-live sessions of album tracks from the songwriter and vocalist, performed with a full band at London’s legendary Fish Factory Studios. “The sessions were meant to feel live, like a performance.” Bryony explains, “All the musicians have put their ideas into the songs, transporting them to somewhere beyond the album versions and allowing them to take on a new life”. Released last summer, the much-anticipated ‘Cage and Aviary’ was written over the course of three years and created with long-time friend, collaborator and Tru Thoughts label-mate Tom Leah AKA Werkha. Tying together personal reflection to wider social issues, the album gives an intimate insight into what it means to come of age in today’s world. Sophisticated song writing layered with jazz, soul and elements of folk charmed many major tastemakers including Gilles Peterson, Jamie Cullum, Lauren Laverne, Tony Minvielle, Toshio Matsuura, Laurent Garnier, Clash, The Telegraph, Bandcamp and EARMILK.

Fabrizio Maurizi makes his debut on Infuse this October as he delivers his latest EP ‘Jumping’, backed by a remix from Pierre Codarin.

A staple within the Italian house and techno scene for over a decade, Bologna’s Fabrizio Maurizi is a producer and DJ now known across the globe for his seamless blend of the two styles across his productions and DJ sets. One half of the duo Bassa Clan, with material via their self-titled imprint, and a member of the Bolo Represent collective, Maurizi’s recent releases include EPs via labels such Bodyparts, Memoria, Want?, Re.face, whilst playing sets worldwide for renowned institutions such as fabric, Robert Johnson, Womb and Cocoricò. Next up, October signals the arrival of a new name to his catalogue as he heads to FUSE sister imprint Infuse to deliver three fresh productions in the form of his ‘Jumping’ EP – accompanied by bubbling UK talent Pierre Codarin on remix duties.

The slick and paired back title track ‘Jumping’ opens proceedings as Maurizi fuses minimal soundscapes with more jazz-influenced notes and tones, whilst Pierre Codarin’s remix ups the energy levels as he introduces metallic drum licks, spiralling electronics and a snaking bassline to the mix. On the flip, ‘Night and Day’ harnesses a classy blend of dubby chords, slinking hats and echoed vocals, before closing the package via the off-kilter rhythms and loose, glitch-driven drums of hypnotic after-hours cut ‘Caravel’.

Ending the season on a breezy note, our new VA 'Boogie Angst, Edition Three' delivers the ideal wares for a buoyant last stretch to an otherwise trying year. Spanning a brightly hued kaleidoscope of pop-infused house and mellifluous boogie, Edition Three pushes forth a selection of our choicest grooves from the past year as well as a batch of unheard and exclusive gems to keep you in the warmest, most positive mindset for the winter to come. Through fifteen cuts covering a wide but cohesive spectrum of balmy sonics, the compilation once again offers a much spitting image of what the label's been up to in recent times.

HIGH HØØPS playful revamp of Secret Rendezvous' fresher-than-fresh RnB joint 'Back In The Day' sets the tone right away, followed closely by Moods & Two Another's lush coastal disco number 'Control' and Snacks & Eric Biddines neo-big band style house treat 'All Night' - a singular chunk of ballroom bop tinged with soulful blues tropes and Caribbean melodic accents, sure to have the dancers jiving without further ado.

Here comes Inkswel's synth-splattered mix of 8-bit pixelation and Run DMC-esque hip-hop 'Too Late' (ft. Stan Smith) and Saux's dream folk excursion 'You're Not Wrong'. A highlight of the package and mesmerizing piece of wistful, kosmische-laced disco, Kraak & Smaak 'Centro De Placer' ushers us in a realm of velveteen ingenuousness and sun-streaked utopianism, steering us away from the tar-scented gloom of soulless metropolises into an all engulfing prism of hope, love and grace.

Utrecht-based vibist Feiertag punches the clock with 'Encino Boogie' - a four minute-odd slab of buoyant funk sprinkled with laid-back house tropes and brass-heavy, loungey dub tonalities, perfect for drawing out the pleasure of dreamlike summer boogie sessions. Clear your mind and shuffle your feet to that solar-powered mix of fevered drums, slap bass and sensually aqueous groove.

Next, Kraak & Smaak's add their easily identifiable, almost Beck-ian spin to Jean Tonique's lysergic pop hit-en-puissance 'Too Bad' whilst Bondax lo-slung remix of Moods' sense-awakening soul tune 'Slow Down' (ft. Damon Trueitt) eases you into a place of inviting suavity.

Inkswel's funky robot chugger 'The People' (ft. Dave Aju) picks up the torch next, followed by Flevans, your go-to man for proper electroid floor traction. The UK-based producer has you covered with 'Everything I See' - a surefire, bass-driven roller inbound for severe club impact with its infectious mix of fiery riffs, mangled female vox slivers and racing groove. Next, Secret Rendezvous' sun-beamy ballad 'Your Love' takes us on a gently bouncy, romantic ride.

Last but not least, Vhyce's smooth hybrid of synth-strewn RnB and lo-velocity funk 'Lose Our Minds' (ft. Yves Paquet), David Harks' metronomic disco-pop anthem 'Twice' and Saux's sleek-textured synthpop exponent 'Night Is All There Is' round off the package on a typically smooth and vibrant sentimental touch.

For the wax heads out there, a limited 9-track vinyl sampler will be issued alongside the digital compilation, featuring some of the tracks on the album + a few alternative versions, and furthermore a vinyl exclusive of Kraak & Smaak's remix of Izo FitzRoy's 'When The Wires are Down', initially released only digitally via Jalapeño Records.








h 08 | Inkswel The People (Cody Currie Remix) feat Dave Aju
feat Wolfgang Valbrun

WRWTFWW Records is profoundly enchanted to announce the full official reissue of Somei Satoh’s magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece, sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Deep deep deep into the abyss…

The Mandala Trilogy blends Somei Satoh’s own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/ Sumeru, released on Kojima Recordings’ ALM. "Mantra" was a NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording in 1990.

Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinoza-ki and recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Alt-hough it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy.

Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh’s Emerald Tablet / Echoes LP, also available on WRWTFWW Records.

On his first EP, Forgiveness, the artist Max von Sternberg delivers four new tracks on the Munich label Musica Autonomica. With its strong basslines and expressive hi-hats, the eponymous piece, Forgiveness, is clearly made for the dance floor. It comes in two versions – one with lyrics and one as a dub version. Falling Star, the first track of the vinyl's B-side feels likely energetic. New Day, on the contrary, gets the more quiet tones, occasionally leaves a melancholic impression and is by that also made for contexts beyond the club.

Stars are created by gravitational collapse of large molecular clumps. Once formed, they stay in the universe for millions of years – and outlive all human life. The artistic creation of Max von Sternberg also is about outliving. With his driving and melodic sound he creates unheard soundscapes. Complemented by well placed lyric pieces, he underlines the the continuous change of our world and shows that nothing is forever. With his first EP, Forgiveness, on Musica Autonomica, he delivers four deep house pieces that cover the entire bandwidth – from bassy dance floor bangers to more quiet, melancholic sounds.

GILA is an electronic music producer from Denver, Colorado. His debut album, Energy Demonstration, blends bass-heavy, leftfield techno with detailed ambient textures, and showcases GILA’s impeccable production style.
Energy Demonstration - out 20th November on Lex Records - follows earlier, club-focused releases on XL Recordings, LuckyMe & Benji B’s Deviation. GILA, (pronounced “hee-la”) takes his name from the gila monster, the only venomous lizard native to the United States -- slow yet powerful with a potentially deadly bite, this colourful reptile possesses many of the same qualities as GILA’s music.
GILA started to make his mark as one half of rap duo, Gorgeous Children, before striking out on his own. As GILA, his signature, hard-edged sounds have been championed by Thom Yorke, Flying Lotus, Benji B, Jamz Supernova, and led to collaborations with Boys Noize and Rustie. Since signing with Lex, GILA’s released a pair of EPs; 2019’s Trench Tones and 2020’s Three Riders.
As a DJ GILA has shared stages with Metro Boomin, Telefon Tel Aviv and fellow Lucky Me alumni Rustie & Hudson Mohawke.

Roots and full of energy. That's the best way to express it for me !

Off the back of their stunning reissue of Minnie Riperton – Les Fleur / Oh By The Way, Selectors Series hit you with a 7 inch reissue of two straight from the heart, Philly Soul gems by none other than Bettye Swann.

Released on Atlantic Records in 1974 on separate 7 inch’s, the A side houses ‘When the Game Is Played on You’ a quintessential soul number with a bold and passionate message that Swann’s exquisite voice effortlessly delivers. “How does it feel baby, when the game is played on you”... payback of the sweetest kind.

Flip it over to find the smooth, soulful ‘Kiss My Love Goodbye’, a Spinners-esque track with stirring vocals that hit the heartstrings from the off.

Although late bloomers in the Northern / Modern soul scenes they became bona fide classics. Further interest was aroused when Tom Moulton remixed both songs in the ‘00s, igniting dancefloors wherever they were played. Not surprising though when you look at the credits on both tracks.

The Young Professionals were the new crack production team in Philadelphia at the time. Made up of the masterminds Phil Hurtt, LeBaron Taylor, Bunny Sigler and Tony Bell their incredible studio prowess shines bright in both these Bettye Swann recordings.

- Unreleased full version of this rare 45 for the first time.

- Cut from tape to lathe by the masters at Timmion Cutting Lab.

Western Michigan had a very healthy music scene throughout the '60s and '70s, with Georgia-born soul legend Jackey Beavers (aka Jackie Beavers) and producer Palmer James forging that area's soul identity. Beavers produced the recording by this obscure band from Battle Creek and issued their only 45 on his Jaber label. The rhythm section of Wright, Teasley and Scurlock were better known as Jr. Walker's All Star group, and they made this recording shortly before leaving the bandleader's ranks. The Us would share ties with the Apachies (track 20), for both bands included at some point members of Jr Walker's All Stars. Trombonist Jack Hill would be involved in both bands and would help create the unique arrangement on 'Let's Do It Today.' Bassist Larry Scurlock recounts the origin behind the song's theme, "We were ready to get on with it. No draggin' around, let's do this now, today is the day! I've lived this motto for all of my life."

The full-length version here shows The Us head into psychedelic regions in the final minutes of the song that have never been heard since they were recorded over 30 years ago. "I wrote it in less than half a day to get some royalties" remembers Scurlock. "We were experimenting with tuning, a quarter tone below the note. We were sure under the influence back in those days!"

ANRMAL ist Juana Molinas erstes Livealbum auf ihrem langen Karriereweg. Es wurde beim NRMAL Festival in Mexiko aufgenommen, kurz bevor die Welt im März zum Stillstand kam, und ist ein Zeitzeugnis, wie die Welt "vorher" einmal war. Durch das kraftvolle Set zieht sich ein so mitreißender Punkrock-Vibe, dass er uns auf bessere Zeiten hoffen lässt. Als Juana Molina vor mehr als zwei Dekaden als Musikerin startete, waren ihre Kompositionen eher reflektiert und auf das Wesentliche reduziert. Zumeist spielte sie Solokonzerte mit ihrer Gitarre, einem Keyboard und Effektgeräten. Über die Jahre wurden ihre Konzerte immer wilder und ihre Platten immer intensiver und extrovertierter, was bei den Tourneen zu ihren letzten Alben zu erleben war. Auf dem am 23.10.2020 erscheinenden ANRML wird Juana Molina von ihren Bandkollegen Odin Schwartz am Bass und Pablo González am Schlagzeug begleitet, die eine Extraportion Energie zum Auftritt beitragen. Das Set enthält Stücke aus Juanas letzten Alben Halo, Wed 21 sowie der Wiederveröffentlichung Un día und der EP "Forfun", alle erschienen bei Crammed Discs. Gemischt wurde das Album von Juana Molinas Toningenieur Marcelo Coca Monte.

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

'How is it that one of Art Blakey’s greatest albums with the Jazz Messengers is so little known? The 1961 edition of the Messengers included Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. In February and May of 1961, this group (with pianist Walter Davis Jr sitting in on two tracks) entered Rudy Van Gelder’s studio in New Jersey and proceeded to lay down Roots & Herbs, a brilliant set of six Shorter compositions including the driving hard bop of the title track, the playful “Ping Pong,” and the clever “United.” The album was eventually released in 1970 and deserves a place among Blakey’s finest recordings.

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

The Shapeshifters’ studio mastery and dedication to his craft has resulted in singles that stand up alongside golden era disco records as much as they sound fresh on dancefloors today. His rich relationship with Glitterbox has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower, especially with his latest release and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter, ‘Finally Ready’. Now, another of the label’s nearest and dearest, Dimitri From Paris, steps up to remix The Shapeshifters’ latest on a special 7” vinyl package. Co-written with Billy as a declaration of Pride, Dimitri adds his signature stylish flare onto the suitably theatrical original. Split into two parts, Pt. I on the A-Side keeps Billy’s unmistakable vocal at centre stage, with funk-fuelled organ chords and rich keys bringing Dimitri’s Sound Of Paris. On the flip, Pt. II is a more stripped back version, allowing the classic disco instrumentals to really shine, as a previously unheard and powerful spoken-word vocal from Billy narrates along with improvised vocals taken from the studio recordings. Expertly crafted and brimming with emotion, the joyful message of ‘Finally Ready’ rings true through Billy’s lyrics on both mixes, as Dimitri From Paris brings a new dimension to this dancefloor essential.