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Autarkic describe himself as first and foremost a songwriter but he has also made a name for himself as an international DJ. Over the past three years the musician based In Tel Aviv has, with great success, played clubs throughout all of Europe. One extra memorable gig was on last year's edition of Convenanza in the amphitheatre in Sete, France. Rumour has it that the sea living mammals of the area flocked in large groups in the waters below during Autarkic's gig.

This 12'' record is his first release on Hoga Nord Rekords and the slightly psychedelic, sample- and synthesiser based club music that has become Autarkic's trademark sound is captured by an impeccable production. The music is playful, yet stripped down to the essentials and not overloaded. The vocal elements works more as percussive elements than the carrier of the storytelling in the music.

If you missed him live or just don't have the means to go see him, this record give a taste of Autarkic's hypnotic live performances!

Here we are with our 12th vinyl release. We're really proud of our back catalogue, and even prouder to be able to add more to it. And what better way to expand our portfolio than by inviting yet another exciting artist to join our 12" club. And this artist is Ricky Force - a man who's seen it all in the more breakbeat-oriented face of drum & bass, pushing his trademark intricate percussion programming since 1999, releasing quality music on labels such as Reinforced, Repertoire, Omni Music, Pinecone Moonshine, DSCI4 or 117, and now finding home with us.

Without further ado, here's Ricky Force and his latest single - a pair of not your usual 170-BPM masterpieces leaning heavier towards roots vibes, jungle, halfstep, and dub (Ricky's from DUBlin, so it makes total sense). "Ecstasy" starts with a looped vocal bit that leads the listener on towards a thick bush overgrown with full-bodied kicks, sharp, frantic breaks, and a bassline composed of massively booming bits that are bound to keep you on your toes, especially if you have the chance to enjoy it on some proper soundsystem.

"Firehouse Dub" is, in turn, a solid halfstepper strongly rooted in jungle revivalism. It marches slowly and steadily, unfolding some interesting stories on the way - a series of thickly-arranged broken beats, a pack of blares, some vocal bits here and there. Put together, they create an amazing mixture of classic sounds organized up to modern-day standards with surgical precision only Ricky Force is capable of. A true feast for all those into the less polished and more true-school shades of drum & bass.

the second release of the brightest hope in modern deep house scene.

the title track is something like a nice mixture of four tet and dj koze. it will be lovely dj tool for all of house dj.

the track on b1 is more uk style jazzy broken beats stuff and the track on b2 is his trade mark elegant deep house tune.

Southern Lord is proud to present reissues of the first two albums from iconic Portland-by-way-of-Nashville-based hardcore punk icons, From Ashes Rise.

Alongside related acts His Hero Is Gone and Tragedy, From Ashes Rise are one of the most iconic pioneer acts of the gloom-heavy American crust/hardcore sound born of the late 1990s.

Following their EPs on Clean Plate Records and Partners In Crime Records, the debut full-length Concrete & Steel was initially released through Feral Ward Records in 2000, followed by the release of their second album, Silence, through the same label later that same year.

Staples of the band’s catalogue, these two seminal LPs have not only stood the test of time, but lie as markers at the beginning of a now well-trodden path, making From Ashes Rise one of the founding acts of the sound so many modern acts continue to draw influence from.

The reissues of Concrete & Steel and Silence have been fully remastered by the band’s Brad Boatright at his revered Audiosiege in Portland, Oregon, the LP’s original covers formatted to tip-on jackets.

Killer compilation of Bro David's work.. It sounds like a blend between digital reggae, disco and calypso, ''Bredda David Obi'' calls it ''Kungo'', a mélange of traditional Belizean brukdown music. Hard to describe exactly - its various ingredients make it feel somewhat familiar but the recipe with which he blends them is slightly strange, fresh, intriguing and damn groovy!! BIG one..

Crosstown Rebels welcome Tochno Techno label owner Yulia Niko to release her first full EP, Paradise, a captivating three track EP featuring jazz bossanova vocalist Sil Romero and Italian talent Cioz on remix duty. Opening track Caminando encapsulates Yulia’s inspiration from walking on the White Isle of Ibiza where she spent the last year living. The hypnotising deep house melody of swirly synth pads and Sil Romero’s beautiful dreamy vocals wash over skipping percussion in an emotive composition. Cioz puts his own melodic stamp on the remix, creating a progressive club piece with bright keys over a reshaped bass line. Paradise continues the warm, ethereal atmosphere of the EP, bongos dance on hats as lush, relaxing tones fade in and out. Russian-born DJ, producer and label owner, Yulia Niko learned her trade in the clubs of her hometown before moving to the US to work as a resident DJ at Verboten, Brooklyn and Heart in Miami. Now touring the world, she is based in Berlin and runs a vinyl only label, Tochno Techno. She has also released on other esteemed labels such as Get Physical Music, Nervous, Heisenberg, Natura Viva and Dee-P-erfect.

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

Lock up your 303s, Roy Of The Ravers is back with a brand spanking new album and it's quite possibly his strongest and wrongest to date! Following a limited run cassette version of the album, Who Are Ya lands on gatefold vinyl and spans 10 tracks and nearly 60 minutes of top quality turns, which sees our star player's BPM rising up into tougher, more hardcore-esque territory (Supremacy Acid, Roy Shat Over Ref) Who Are Ya also takes in some seriously smoked-out, slow-mo squelchers (Phaelon Acid 4, The Box) essentially making it a game of 2 halves (no mid tempo tracks allowed - ok??!) Through-out all of the album's giddy twists and turns however, it's Roy's trademark 303 constantly on the boil that crowns him man of the match, as he dribbles it skilfully from in and out of the mix, making him top of the league for acid once again. Hoorar!!

There Existed An Addiction To Blood" ist das insgesamt vierte Album von Clipping und ihr drittes für Sub Pop. Es ist der Nachfolger des von Kritikern und Publikum gleichermaßen gefeiertes Album ,Splendor And Misery" aus dem Jahr 2016. ,There Existed An Addiction To Blood" enthält die Singles ,Nothing Is Safe", ,Blood Of The Fang" und ,La Mala Ordina" (Feat. Benny The Butcher, Elcamino, The Rita), die von Clipping produziert, von Steve Kaplan gemischt und von Dave Cooley bei Elysium Masters in Los Angeles gemastert wurden. Das Album enthält auch Gastbeiträge von Ed Balloon, La Chat, Counterfeit Madison und Pedestrian Deposit. ,There Existed An Addiction To Blood" ist Clippings Interpretation eines neuen Rap-Splitter-Genres unter Zuhilfenahme ihrer einzigartigen Lupe. Clipping wenden sich auf dem neuen Werk intensiv dem Horrorcore zu, eines bewusst absurden und kreativ bedeutsamen Subgenres, das Mitte der 90er Jahre blühte. Einige der bemerkenswertesten Pioniere hießen Brotha Lynch Hung und Gravediggaz, aber es umfasst auch bahnbrechende Werke der Geto Boys, Bone Thugs-N-Harmony und die nahezu vollständigen Veröffentlichungen des klassischen ,Memphis cassette tape rap". Der wahrscheinlich subversivste und experimentellste Rap hat sich oft als ,Alternative" zu konventionellen Sounds präsentiert, aber Clipping verzerren das Ganze respektvoll in neue Konstellationen. ,There Existed An Addiction To Blood" absorbiert die hyper-gewaltigen Horror-Symboliken der Murder Dog-Ära, stellt sie aber in einem neuen Licht dar: immer noch dunkel getönt und düster, aber in einem seltsameren und lebendigeren Farbton. Wenn der traditionelle Horrorcore mit ,Blacula", dem populären Blaxploitationsfilm-Klassiker aus den frühen 70er Jahren, verwandt war, so ist das neue Output von Clipping analog zu ,Ganja & Hess", dem blutrünstigen Kultklassiker von 1973, der als unbesungenes Wahrzeichen des schwarzen Independent-Kinos gilt, dessen Score von Sam Waymon, Clipping als Inspiration zum Titel des Albums diente und auch Samples auf dem Track ,Blood Of The Fang" lieferte.ENG The science-fiction visionary Octavia Butler once declared that "there is nothing new under the sun, but there are new suns." The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping's transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an "alternative" to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang's Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with "Piano Burning," a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band's career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018's critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping's last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork's Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single "The Deep" became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards - a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It's horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

Die besten musikalischen Außenseiter sitzen nie lange still. Sie mutieren stetig, verwandeln sich in neue Formen und weigern sich, in Schubladen gesteckt zu werden. Floating Points hat so viele Gestalten, dass es ohnehin nicht einfach ist, ihn irgendwie einzuordnen. Da ist zum einen der Komponist, dessen Debütalbum „Elaenia“ im Jahr 2015 begeisterte Kritiken erhielt, darunter als Pitchforks „Best New Music“ und Resident Advisor's „Album of the Year“ - und ihn von den Tanzflächen auf die Festivalbühnen weltweit brachte. Dann ist da wiederum der Kurator, dessen Plattenlabels gefühlvolle neue Klänge in den Club gebracht haben, und der auf seinem geschätzten Imprint Melodies International alte Klänge wieder zum Vorschein gebracht hat. Ferner ist da der Traditionalist, der Disco-Typ, der Maschinenmusik macht, der Digger, der stets auf der Suche nach unentdeckten Edelsteinen zwecks Wiederveröffentlichung ist. Und dann ist da noch der DJ, dessen offener und zugleich mutiger Umgang mit dem Genre ihn einst ein 20-minütiges Instrumental des Spiritual-Jazz-Saxophonisten Pharoah Sanders im Berghain spielen ließ.

Nach der Veröffentlichung seiner Zusammenstellung von funkelnder, analoger Ambient- und Atmosphärenmusik für die geschätzte „Late Night Tales“-Reihe, stellt Floating Points' erstes Album seit vier Jahren, „Crush“, alles, was man über ihn zu wissen meint, wieder auf den Kopf. Nicht minder als ein knallender Donnerschlag elektronischen Experimentalismus’, dessen Titel auf den langsam überkochenden Schnellkochtopf anspielt, den die aktuelle politische Gemengelage in der Welt suggeriert, in der wir uns derzeit befinden. So hat Shepherd einige seiner bisher härtesten und treibendsten Tracks produziert, mit Blick auf die britische Bass-Szene (aus der er in den späten 2000er Jahren selbst hervorgegangen ist), wie beispielsweise die zuvor veröffentlichte markante Lead-Single „LesAlpx“ (Pitchforks „Best New Track“). Auf „Crush“ sind allerdings auch einige seiner ausdrucksstärksten Songs zu finden: seine charakteristische Melancholie ist in den erhabeneren, sanfteren Momenten des Albums oder im Buchla-Synthesizer zu finden, dessen unheimliche Modulation das Album prägt.

Sein neues Album fühlt sich augenblicklich an - und lebendig. Es ist der Klang der vielen Seiten von Floating Points, die schließlich miteinander verschmelzen. Es bezieht sich auf die „explosiven“ Momente während seiner Sets, die normalerweise auftreten, wenn er unerwartete Genres zusammenwirft, aus dem ganz einfachen Grund, weil er sich darüber freut, diese Platte „jetzt wirklich laut hören zu können“ und dann die Nadel aufsetzt. Es ist „genau wie das, was passiert, wenn man zu Hause mit seinen Freunden Musik spielt und diese sich überall im Raum ausbreitet.“, erklärt er.

one less than the infamous ILL_K is making his much anticipated return to Subaltern with a full EP on the imprint, accompanied by fellow producers Chad Dubz and Koobas.
**
*A. ILL_K - **WARP 6*
Bringing back the original jungle influence into the realm of dubstep, the title track ‘Warp 6’ sets the pace of the EP right away. In his trademark crisp and weighty production style, ILL_K lays out a true roller, carried by fierce sub lines and cutting edge percussive work. The melody gets repeated and reworked into many different sounds - sticking in your head until you crave for the next time round.
**
B1. ILL_K & CHAD DUBZ - NINJA TECHNIQUE
Joining forces with the ever busy Bristolian and Foundation Audio boss Chad Dubz, the second track of the release is a real bass-face inducing beast. Keeping up the dark and gritty feel, ‘Ninja Technique’ unleashes merciless waves of bass and ever-so-punchy drums that will shake raves and ravers around the globe.
**
B2. ILL_K & KOOBAS - WALKING HOME
On the third track of the release - and the second collaborative effort - ILL_K and Koobas serve yet another masterpiece that transports authentic Metalheadz jungle vibes into the 140 sphere. Ground-shaking and groundbreaking.
Legend has it that the Fiesta parked in the market has still not moved to this day.

And we used to be such a nice record label .... BKV 026 swells up from the Bristol swamp in the forms of post-human industrial duo Bad Tracking. Here they have assembled variously, one spacious black metal intro (with original screams), an industrial-pop earworm not unlike Depeche Mode imploding in a feedback tunnel, two itch-tek dancefloor riddims namecheking local venue bans and I just don't know what to call 'Wellspring' really, the end of days? Well you had it coming anyway…..


Known in town for upsetting local MPs and lisencees with their live performances as 'naked technology sex slaves' think cassette-induced self harm, total nudity, blood from ears, Bad Tracking are the most visceral thing we've seen in this new wave of Avon experimental - a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression.Widower EPis truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.


You may remember Bad Tracking from their remix of 90s soundsystem legends Bush Chemists on Bokeh last year. It sounded like they played the original through 1,000 knackered tape decks and added one kick drum. It was total sacrilege and we loved it. Bad Tracking is Gordon Apps aka reputed jungle/drumfunk producer Relapse (who also moonlights as Avon Terror Corp's Olivia Mutant John, buy his shit) and poet / VHS video artist Max Kelan (who has lent his visuals to MVs from Hodge, The Pop Group, OM Unit, Young Echo to name only 4). They've released on tRewdindForward family labels like Mechanical Reproductions and champions of bad taste and good music - Fuckpunk.

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.

Sam Shepherd aka Floating Points' music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and - yes - feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the 'Shadows EP' and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album 'Elaenia', which met with critical acclaim upon its release in 2015.

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There's the gorgeous 'Via Làctea', culled from Carlos Walker's debut album, Abu Talib's (Bobby Wright) plaintive 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You'. Raw soul and feeling oozing from each song's pores.

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible 'Moments In Love', Kaitlyn Aurelia Smith whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.

We have some exclusive tracks for Late Night Tales; alongside Davachi's offerings there is also Toshimaru Nakamura's 'Nimb #59', as well as the now traditional cover version. hepherd delved into his childhood
memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler's 'Music For Large & Small Ensembles': Sam offers up his interpretation of 'Opening Part 1'. Wheeler also contributes horns to Azimuth
track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points' drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem 'Ah! Why, Because The Dazzling Sun' by Emily Brontë.

'I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it's quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.' - Sam Shepherd (Floating Points) March 2019

Sonido Gallo Negro has been a mainstay of the current revival of tropical and psychedelic music throughout Central and South America since the first of their three albums was released in 2011. Hailing from Mexico City, a hub of cumbia, chicha, surf and garage music for over five decades, it's no wonder that SGN has such a wonderful and integrated blend of traditional styles that have travelled from the Caribbean, up the Andes, through the Amazon, around the shores of coastal Peru and back through Central America. SGN is part of a long line of artists in Mexico to make these cosmic connections found in the music's terrestrial path, yet are completely unique in their own mystical approach, both visually and sonically. As a hefty 9-piece orchestra, the band is quite capable of summoning a rich tapestry of sounds from an array of instruments of the psychedelic persuasion: farfisa, electric guitar, flute, theremin and, in the case of B-side Niño Perdido, accordion from master Colombian artist and NYCT alumnus, Carmelo Torres. It's the making of a swirling kaleidoscope of sounds and squiggles, all of which ride effortlessly over the fluid percussion and pace of those beloved Afro-Latin rhythms. In anticipation of their next full length release,Unknown Future, Names You Can Trust presents the first 7-inch 45 single to ever be released from SGN, a double-sided dose ofsonido psicodélico, spectacularly swirled into a perfect concoction of old meets new.

50 years ago, a young Panamanian singer by the name of Ralph Weeks, who a few years prior had cut his teeth in the US music landscape with the group Johnny & The Expressions, self-produced and independently released a record with an absolute monster of a soul ballad called "Something Deep Inside." It was a song that Weeks had come up with on the spot during one of many gigs in the heart of Brooklyn's Prospect Heights, at the time a cultural hub and community for many Panamanians living in the borough. Along with his group, The Telecasters, Weeks often played at a Panamanian-owned club in the neighborhood called 4 Star's (STA4R's) which would independently sponsor the release of the tune on a 7-inch single.

Fast forward to 2019, where a serendipitous meeting between Ralph Weeks and Names You Can Trust turned into a solid formation of musical synchronicity, bonded over a shared belief in musical fusion, a weaving of musical threads that was similarly the foundation of that earlier era in Panama. It's a fusion that has become a constant theme throughout the Names You Can Trust catalog in the last 10 years, connecting the dots from NY, the Caribbean and Latin America. An immediate plan was put into motion: return Weeks to a studio atmosphere that had eluded him in the preceding decades, a vibe and live musical presence that would be reminiscent of his time recording with The Telecasters and The Exciters in Panama.

In the ultimate tribute to Weeks and that foundation, NYCT label mates Combo Lulo unpacked the 50-year old original tune and refashioned it into a timeless rocksteady ballad. It was an opportunity for Weeks to acquaint himself with a new band and a new generation of musical talent. Ultimately, it was an unexpected chance for Weeks to reconnect to the music he wrote one fateful evening in a Brooklyn club. For Combo Lulo, Names You Can Trust, and now the rest of his musical admirers, it's a chance to hear how gracefully Weeks' voice has aged, still silky smooth with those beloved falsetto runs, sweet and rounded like a barrel-aged añejo rum. It's a testament to the timelessness of Weeks' original music, and certainly another reminder of how far and wide even the smallest of musical blips can spread.

Presented as a double-sided bilingual 45 single, both versions of Weeks' classic tune, "Algo Muy Profundo" and "Something Deep Inside," have been formatted in the traditional Jamaican style, skillfully cut live and mixed under the guidance of NYCT and Combo Lulo's talented musicians. It's a tribute to a brilliant record and an unsung architect of Latin American sweet soul, but also a love letter to a very particular NY-Caribbean fusion that theoretically could have happened 50 years ago, depending on the borough you resided in. After all, there was always something deep inside. Comes with NYCT / STA4R'S Company Sleeve & Liner Notes.

Bizz O.D. “House Of Domination” is her second 4 track e.p. on Temple Traxx.
Bizz O.D.’s trademark ruff Chicago acid stomps are ear bleeding love songs to a hedonistic lifestyle she is celebrating to this day.
Unique live and DJ sets make her one of New York greatest Wild Pitch producers.
Using only Casio RZ-1, Roland TB303 & TR808 and the legendary Emulator SP1200 drum-sampler prove that inspiration is what matters and love is what counts. A bit of rubber and domination does never hurt though. Bizz is in the House!

Chief Udoh Essiet believes in rhythm. He serves it Hot-and-Spicy on his new album Afrobeat Highlife Crossing, from the depths of his soul to the beat that emanates from his hand-made
antelope-skin congas and talking drums from his native Nigeria.
Chief Udoh is a veteran artist, singer, songwriter and virtuoso percussionist. His musical journey took him from the traditional rhythms of his village to Swinging Lagos in the 70s, where
Udoh apprenticed with Dr. Victor Olaiya’s Highlife Band while still too young to reach the tops of the congas onstage. (They stood him on a Coca Cola crate!) He has personally worked
alongside the biggest artists from Nigeria in the 70s and 80s, including the legendary Fela Anikulapo Kuti, creator of Afrobeat, at the height of his fame. Afrobeat Highlife Crossing has all the elements of these Old School styles, effortlessly blending the essence of Afrobeat and Highlife grooves, resulting in a sound that’s purely original. The percussion is out of this world, the bass is melodic, the horn arrangements are next level, the BVs are perfect and the ‘Pidgin’ language Chief Udoh sings tops it off with some Nigerian seasoning, like a dash of Hot Pepper on Stew!
His lyrics speak the cold-blooded truth, telling us to look inside ourselves and fight against corrupt governments that keep getting us into corporate-sponsored wars, leaving innocent civilians to live with the consequences. His label Uwem Music’s motto is “Right now is the best time to play the record” and we agree!

The title Ghost Frequency works on several levels. I was introduced to the term when I first began learning about recording techniques. It was used (usually negatively) to describe sounds that appeared on recordings due to signal interactions that resulted from “improper” mixing or recording and read as “noise” rather than the “music” that was being recorded. I became instantly fascinated with the phenomenon and intentionally creating these sounds in my recordings by deliberately using supposedly incorrect techniques has become a big part of my composing and recording process, probably the most central and consistent practice of it. I’m interested in how the presence of these sounds, and traditional production’s insistence on eradicating relates to larger ideas about the eradication of vital social practices relating to the dead such as ancestor worship, mediumship and history itself in favor of state and market dictated modes of understanding existence. The internet abounds with references to the the term, but applied to ultra low frequency or “infrasound” which can allegedly be responsible for inducing supernatural perception experiences. These posts from the margins posit a Ghost Frequency that operates on the same level as a radio station, one can simply tune into paranormal activity. It’s also a pun on an imaginary metric of how frequently ghosts might be around at any given moment. The songs on the EP employ (as does all of my music) a large amount of Ghost Frequencies (i.e. sounds that appear on the recording as the result of signal interactions rather than those sounds being performed on an instrument) and they also orient themselves toward interaction with the dead as a necessary component of human experience, and a mode of resistance to state power and it’s accompanying carceral technologies.

the third release of german house duo frankey&sandrino on mule musiq. the title track on a side is their trade mark hypnotic deep house tune for big room. b side is much deeper and nice dj tool for dark underground club.

“Requiem” is the name of the new Cold Beats Records release. The reference number 14 of the catalan label is written by L´Avenir, the cold synth side project of veteran electronic musician and sound artist Jason Sloan. Known throughout the space and ambient music scenes for his contemplative electronic soundscape work for close to two decades; Sloan founded L’Avenir in 2012 to explore his long time love of synthnpop and dark minimal wave music created purely from analog and vintage equipment. While still retaining the atmosphere of his solo records, the music of L’Avenir is rooted in the tradition of the minimal, analog, synthesizer music of the late 70′s and 80′s ( Fad Gadget, Depeche, Click Click, Chicago’s Wax Trax Records scene etc…). Growing up through the original scene while it was happening, it’s no suprise that Sloan’s music would eventually move in this direction. While releasing over a dozen solo albums and E.P.’s under his own name, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatherings concert series, one of the country’s oldest continuing ambient and electronic music series. Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland. L’Avenir returns with Requiem, the fourth, full-length album for Barcelona’s Cold Beats Records. Requiem finds L’Avenir visiting themes of postmodernity, alienation and spiritualism while expanding the sonic palette far beyond his minimal synth beginnings. The music of L’Avenir has, at times, been compared to 4AD era Clan of Xymox or mid-period Depeche Mode. But while echoes of the former can be heard, L’Avenir brings a uniquely fresh perspective unheard in other bands of the genre. Requiem features eight new songs and is available on limited edition blood red vinyl. Requiem is L’Avenir’s sixth release was written and recorded between February 2018 and January 2019 in a Minimal Space, (Baltimore). Limited edition of 300 copies lacquered pressed on 140 gr. high quality red vinyl and digital album.

Rolf Hansen, who as a guitarist is originally rooted in jazz, has been one of the most in-demand studio and session musician in the Danish rock, pop, and folk scene. Between 2010 and 2017, he toured under the name Il Tempo Gigante as a solo artist and released two albums: »Lost Something Good« (Speed of Sound, 2010) and »Watch It Watch« (Resonans, 2014). With subsequent tours throughout Europe, he made a name for himself in the alternative folk scene.

After a phase of reorientation, he now releases his first purely instrumental record under his real name through the Berlin-based Karaoke Kalk label in September. On his third album »Elektrisk Guitar«, the many different influences Hansen has gathered as a composer, solo performer, session musician and producer shine through.

The concept of limitation - an album composed for and played with solo guitar - is being mirrored in the conception of the album itself. Not only does Hansen resolutely constrain himself to a sole instrument, he also eschews traditional composition techniques and follows an experimental approach.

»Elektrisk Guitar« is an album that enters into a dialogue with its conscious and attentive listener. Pieces whose melancholy is carefully weighed meet complex musical structures that again and again provide new challenges. In just 43 minutes, »Elektrisk Guitar« offers a plethora of ideas, impressions, details, and inspiration. And even more so, it opens up a room for its listeners to explore, precisely because its minimalistic compositions create a lot of space in which to get accommodated in.

Apart from his solo projects, Rolf Hansen has for several years been connected to Donna Regina as well as Anders Mathiasen (formerly Murder, now Vessel, DK) and Henriette Sennenvaldt (formerly Under Byen, DK) through close collaborations.

We've reached a pivotal moment for Local Talk.
What better way to celebrate a centenary of forward thinking releases than to present one of the best kept secrets out there, MLiR aka Modern Life Is Rubbish this time joined by Arnau Obios.

After making a serious impact with their remarkable 'Swedish Lo-Life' and 'Trans-World Junktion' releases on fellow Swedish label Studio Barnhus, we're thrilled to have them onboard for our 100th release on Local Talk.

Yes, that is correct, we’re celebrating the big 100. Since the very beginning we've covered everything from the deeper shades of house to the jackin' and the gritty club jams, released some slower BPMs and also the uplifting, vocal and organic house.
As you probably noticed - we love it all.

The 100th release main track 'Lajbans' is one of those sublime tunes that is bridging the gap between all styles of dance music and got the MLiR trademark, it's epic and manages to offer plenty of subtle details to keep you locked for the full 9 minute experience.
Accompanied with the original is a masterclass in dub 'Lajbans (Bellaterra dub)'.
You got the versatility of the original carefully stripped back but also absorbing layers upon layers of seductive sonic moods, it's a trip for sure and you don't want it to end.
Once again MLiR proves why they will be a force to be reckoned with for years to come...

Artwork by Leolyxxx
Mastered by Sasse at Blackhead Studios

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Amsterdam based imprint Taped Artifact welcomes Erik Anthony to their label. With only one contribution to the Dynamic Reflection label back in 2017, very less is known about the young Amsterdam producer. But here he makes a stellar techno debut with his first solo EP backed with a Vril remix.

On the a-side things kick off with 'Board Walk', haunting vocal chops combined with droning kick drums combined making it a serious big-room techno jam. 'Oclose' brings more soul to the game, subtle basslines and dreamy synths create an uplifting and joyful playground for endless dancing. Vril then stirs things up, his take on 'Oclose' has more punch, a different energy and his trademark hazy dub-techno twist. Last track 'Separate' is an emotive yet powerful techno workout that closes the four track affair that can be seen as a promising allround debut release.

Sometimes you know it’s coming, sometimes it’s unexpected, but the time to hang your boots will always come. It’s better when you have total control, even better if you end up on a high (or on a low). After seven years of sonic interferences, calibrating the soundscape of field recordings and helping to recreate the old sounds of today, Gonzo is retiring from music. It’s a goodbye, yeah, and a well-crafted one.
But “Ruído(s)” doesn’t sound like an intentional one. You won’t listen to it on any of the thirteen tracks that scavenge for a solution in the space between ambient music and field recordings. You won’t feel it in the intense connection between human and natural sounds and how sometimes everything oscillates in opposite states of mind. You won’t even read it in the intense, but subtle, humor present in some of the pieces. You won’t, because it’s not an intentional goodbye. You only know it is, because you’re reading this.
What is it then? It’s a celebration of random sound. How can you experience something scholastic and, simultaneously, deeply hilarious? Just think about the amazing triad formed by “A Fuga dos Grilos”, “Degredado(s)” and “Cantiga Parva”. First, you’re blessed with six minutes that build up on the idea that sound can be an intense religious experience, echoes going back and forth to create a fantastic Boiler Room feeling (one populated with raving Gonzos doing dabs in front of the camera) that eventually ends up with a cinematic touch: someone saying the title of the song out loud. One second after we are into the Flying Lizards world, with two songs that shake any pretentious seriousness of the previous track.
Is it serious or not? It is. But it doesn’t have to be. In “Ruído(s)” Gonzo recounts pop/electronic history through field recordings and weird-soft beats. More than compiling his seven-year history, Gonzo is more worried to understand where he’s leaving his ideas, Caretaker style. Speaking of Caretaker, Leyland Kirby should think about reviving Caretaker and do a whole album around “Brilhante Cortejo”: it’s haunted ballroom in a ‘cracked’ nutshell.
As the album progresses and the need to revisit it grows, it becomes clearer(?) that “Ruído(s)” is more than an artist self-indulging on his work – in a very good manner. It’s also a condensed catalog of Portuguese music and its sounds, a circular trip down the memory lane of a forgotten country and its landscape. “Ruído(s)” is a goodbye to a country and its traditions. It does it without sulking but with the most respectful loud laugh - the Gonzo way.

In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

With the assistance of Chris J. Morris, Left Ear Records has extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor. Full liner notes translated in English and Spanish with archival photos included.

Dutch underground acid-techno act Random XS strikes again with two rugged and authentic dance floor rockers. After a long awaited re-release of their Djax-Up-Beats classic 'Give Your Body' last year on Delsin, they return with a pair of fresh and unheard acid jams on the closely related MOS Recordings. Both tracks recorded in the early '90s, but only recently finalized and improved for heavy club impact. It's an EP full with gurgling 303 grooves and raw energy in the traditional and energetic Random XS way.

Hailing from Chicago, Beau Wanzer has carved out a singular voice in electronic music since debuting on the L.I.E.S. label in 2013. Wanzer’s music is not industrial, wave, electro, or techno - it’s a unique and twisted amalgamation of all that, and more. Crazy as it sounds, we at Suction Records have been sitting on this Beau Wanzer material since 2003. Back then Beau was working at Weekend Records And Soap — a Chicago hub for the city’s exploding electro scene — when Solvent and Lowfish rolled into town to perform at an Ersatz Audio label showcase. We met Beau at the shop and he gave us a 21-track CDR. We were instant fans, fast friends, and went on to the share the stage with him several times, well before he released his first records. That CDR contains these 6 tracks now released on 10”-vinyl as the “Do The Spider Shimmy” EP. This is suction049.

Had that CDR not been held onto, and recently-unearthed by Solvent, this music would have disappeared into digital oblivion; Beau had long forgotten them and didn’t even have a copy of these CDR tracks. Beau Wanzer’s trademark sound — raw, minimal electronics and effected-beyond-recognition vocals — were already in full-effect circa 2003, but what makes this material different from his contemporary output is the dry, drumbox-funk influence of Detroit’s Ersatz Audio label (Le Car, ADULT.), which is also heard loud and clear across the EP.

2019 marks the 20th anniversary of ‘Low Birth Weight,’ the second album by Piano Magic, then a loose collective of musicians centred around founder songwriter, Glen Johnson. Though a year later, the collective would take shape as a bona fide internationally touring group, in 1999, Johnson had one foot in his native Nottingham and the other in his new home of London where, finding himself label manager at Rough Trade Records, also became highly prolific, releasing his own records across a myriad of micro-labels (Che, Wurtlitzer Jukebox, Darla, Rocket Girl, etc).

By his own admission, ‘Low Birth Weight,’ owes much to the East London experimental group, Disco Inferno who, embracing sampling technology, attempted to turn pop music inside out. By 1995, the Inferno had burnt out but Johnson remained inspired by their playful, subversive manifesto and thus, the album here, partly produced by “Nottingham’s own Martin Hannett,” Martin Cooper, is difficult to pigeonhole either at the end of the millennium or even now. Drum kit signals are fed through a tiny amp literally inside a cardboard box; breathing is employed for rhythms; kick drums are replaced with broken glass; there’s a ragbag of tablas, huge slap back delay and phase, theremin, shortwave radio, and more.

Aside from the DI benchmarks, ‘Low Birth Weight’ bears the marks of an infatuation with the dreampop of the time – the guitar saturated in delay and overdrive – inspired by the likes of AR Kane and Kitchens Of Distinction and not the more languid “shoegaze,” which has oft been levelled at LBW.
There’s a revolving door of guests on the album, including Pete Astor (The Loft/The Weather Prophets) on a cover of Disco Inferno’s ‘Waking Up’; Simon Rivers of The Bitter Springs supplies lyrics and voice to ‘Crown Estate’ and ‘Dark Secrets Look For Light’; Jen Adam, then an American art student on a year’s placement in London, writes and sings ‘The Fun Of The Century,’ a personal account of being pushed off a roof at a party by someone she thought a close friend.

‘Low Birth Weight’ is undoubtedly of its time, though undoubtedly more playful and literary than much of the music made during the late 90’s and a fascinating bridge between dream pop and experimental electronic music.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

The Souljazz Orchestra return with a brand new studio album for our troubled times, 'Chaos Theories', released on Strut.
Always known for their uncompromising social and political messages, the Canadian collective hit harder than ever on 9 new tracks, outing the hypocrisy of modern day politics, police brutality and the everyday struggle of the working man. Led by chief songwriter and arranger Pierre Chrètien, the band continue to evolve their sound, drawing on a broad palette from their trademark Latin, Afro and Caribbean styles to some of the UK's political sounds of the early '80s, the era of The Clash, The Police, 2-Tone and frontline reggae.

This four-track-EP celebrates the spirit out of which Seilscheibenpfeiler was born. It contains two unreleased 1994 productions by Sebastian Szary’s Fundamental Knowledge project, which started the label back in the day. They are complemented with present day reworks by Fadi Mohem and Skeemask, breathing new life into these 25 years old but far from outdated tracks by adding a little extra punch through modern means of production.
Fadi and Skeemask deliberately don’t apply any specific modern elements to Szary’s vintage tracks, instead they enhance their classic Minimal-meets-Hardcore-meets-Acid feel. It’s a transmission from a Golden Techno Age where all was one, capturing the sweaty, hard, yet light footed sound of post-wall Berlin, with all its associations from Tresor to Love Parade.
„1994 - 2“ sounds hypnotic and airy, while rumbling on the lower end. What a perfect opportunity for Skeemask to flesh out the track with his hefty trademark breakbeats! Fadi Mohem revamps the acidic „1994 - 21“ with equal respect and efficiency, providing the kick drum power needed for big soundsystems.
If you don’t look at the titles, it may at first be hard to discern which is which, what’s past and what’s present – a fact that honors both versions new and old.

Singer, lyricist and composer Nirox Romão aka Diron Animal was born and raised in Cazenga, Angola. Diron Animal's involvement in the music world began early: he was part of a traditional Angolan music band and capoeira group, followed by a hip hop project. 12 years ago he moved to Portugal to study, but music became more than just a passion when he landed in kuduro.

For over 6 years, he sang, danced and traveled the world with Afro Portuguese act Thoes + The Shine, mixing rock and kuduro, becoming an explosive ensemble. At one moment, Diron wanted to record a solo album to show a bit more of his own personality and in late 2017 his debut album ‘Alone’ appeared on Soundway Records, where he himself worked out the melodies, rhythm, vocals and even the guitar parts between classic funk to afrohouse and kuduro bass. Through that album he explored major festivals in Europe during 2018, such as at Paléo Festival Nyon, Trans Musicales Festival, Amsterdam Dance Event and others.

On ‘Pair’, his 2nd album and released on Brussels outernational label Rebel Up Records, he has worked hard to enhance his special formula. Inspired by the cruel death his nephew, it became a testament against oppression via the mixed sounds of afro boogie, disco, funk, afrohouse, coupé décalé and kuduro, with English and Portuguese lyrics.

The first single of the album, ‘You and Me’, is an English sung afro boogie disco song and produced by Diron with the support of musician and producer Moullinex, actor André Cabral and video made by director Vasco Mendes. In the video, featuring dancer and actor André Cabral, Diron Animal takes on the role of a gay man to express that a homosexual is a normal person who loves, feels desire, dreams, conquers, wants to be loved and desired, wants to live next to a being that completes him. With “You and Me”, Diron Animal above all wants to appeal to society, respect for the choice of people and non-discrimination of sexual choices. For in life we all deserve to be happy regardless of our sexual choice.

Hello! We present to you our first 7” single, two vocal tracks, a traditional choice for the format, from a favourite of ours at OTIS - LORD TUSK. Out-of-body music for the inner Upsetter. Best enjoyed on hi-fidelity, stereo sound systems.

Fortuna boss Kalbata joins forces with five-piece band Tigris, creating a mesmerizing percussion-led album inspired by African and Caribbean traditions. Repetitive guitars, blissful synthesizers, and roaring voodoo drums set the tone across this extra-trippy, six-track journey. Techno and Balearic undertones remind us of Kalbata's wide musical spectrum, ranging from very dark to luminous tropical sunlight. Essential!

K15 serves up another slice of broken beat wizardry for Eglo Records, illuminating his trademark style of soul stirring synths and bouncing bass. Clocking in at just over 8 minutes, 'Devotion' is a dance music opus for the mind and body. Lifted from the forthcoming Eglo Records Vol. 2 compilation - due for release in late October - 'Devotion' will be available as a limited run 12" only single, housed in a special edition "10 Year Of Eglo Records' sleeve. Exclusive to the vinyl release the B-Side features K15's reconstruction of Patricks Gibin and Javonttee's 'Cloud 9', a track released earlier in the year, which see's K transform the four to the floor soulful house classic into an abstracted, broken bubbler, building until all the elements fall into place, climaxing into a low end groove. Essential broken beat for 2019!

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer- songwriter Sonny Johns AKA The Rail Abandon. The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.

There are many differences between Isaac and Sonny, but a powerful similarity -- which gives Kalba its element of relatability -- is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.

“It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with “He plays the modern way!” Partly dismissive, mostly proud,” said Sonny. “And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence.”

There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.