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PRESTIGE waren kaum aus dem Teenageralter heraus, sich aber bereits der Probleme in der Gesellschaft und der Welt um sie herum bewusst, als sie 1987 begannen, Musik zu machen. Oft wählte die Band eine humoristische Herangehensweise an die Songtexte, aber wenn man tiefer gräbt, ist darin immer eine Botschaft versteckt. Ein Song wie "This World" zum Beispiel ist heute so aktuell wie vor 35 Jahren.
Ihre Musik war schnell und aggressiv, und PRESTIGE war die dritte Thrash-Band, die in Finnland ein komplettes Album veröffentlichte. In den Jahren 1988 und 1989 kam es zu einem echten Durchbruch des Thrash Metal in Finnland, und PRESTIGE waren mittendrin, spielten im ganzen Land und landeten in den Charts.
Das damalige Label engagierte den damals angesagtesten und teuersten Produzenten, Herrn TT Oksala, um die Aufnahmen und die Produktion des Albums zu übernehmen. Die Aufnahmen zum Album dauerten sieben Tage. Abgemischt wurde das Album in den legendären Finnvox Studios in Helsinki.

Weirdo acid tracks and spacedout braindance by RTR. Probably the most energetic up there tracks RTR has done so far. Putting those 10 tracks together makes us go through an immersive musical journey that goes from stuttering, rapid breakbeats all the way through the record to complex melodies, needling acid basslines, mind-melting electronic workout that'll leave you on your knees. One for the Aphex Twin and Rephlex fans (and isnt everyone a Aphex Twin fan???). Limited edition of 300 copies!

From contemporary admirers of Sakamoto's work like Thundercat, Devonté Hynes, and Hildur Gudnadóttir to longtime collaborators and friends like David Sylvian, Alva Noto, Cornelius, and Fennesz, plus some of Sakamoto's personal favourites like Lim Giong, Gabrial Wek, and 404. zero, the included artists reflect the breadth of Sakamoto's influence on contemporary music. Given full access to the musician's extensive catalogue of solo releases and film scores, each artist personally selected their contribution and put their unique spin on Sakamoto's originals.

Based in rural New Mexico, William Fowler Collins (b.1974) is a composer, recording artist and performer. His music extends across and beyond many genres including drone, minimalism, and free improvisation. He records and performs in both solo and group contexts. Collins has released music on the SIGE, Type, Blackest Rainbow, Handmade Birds, Sicksicksick and Root Strata record labels. In addition to his work as a solo artist, Collins has several collaborations including Thalassa with Aaron Turner and Mesa Ritual with Raven Chacon. He has also collaborated with Marshall Trammell, James Jackson Toth, Mamiffer and is currently working on new music with Margarida Garcia.

Alone Inside the Walls of Night is music for Mellotron, violin, synthesizers, and electric guitar. It was completed in 2022 and is dedicated to Maria Valentina Chirico. It features Heather Trost on violin. Artwork by Chris Bigg.

The Berlin based duo Itchy Spots combine falling words with tricky rhythms. Their music concerns the simultaneity of intensity and nonchalance, feverish high speed drumming, static sounds and tribal hypnosis. The vocal performance seems to stand alone, it is independent from whats happening rhythmically, yet it all melts together perfectly. Grooving skeletons of songs, rituals and shamanism. Itchy Spots are James Main (former singer and lyricist with Wild Daughter) and Ansgar Wilken (Ilse Lau, Feedbackorchester, Happy Zloty).

Für Fans von Smerz, The Internet, Erika De Casier & Japanese Breakfast Es braucht ein starkes Selbstbewusstsein um seine Komfortzone zu erweitern. Bei der Künstlerin Gaisma scheint diese Ausweitung keine Grenzen zu kennen. Vom professionellen Tanz, über das DJ Leben in den Nacht Clubs, bis hin zu eigenen musikalischen Kompositionen und Produktionen. Die Disziplin mit der Alisa Scetinina aka Gaisma ihren Leidenschaften nachgeht, kommt nicht von ungefähr; aufgewachsen in Lettland wo sie sich in jungen Jahren dem Ballett verschrieb und schließlich in der Choreografischen Schule in Riga aufgenommen wurde. Mit 15 Jahren kam sie alleine nach Deutschland und nachmehreren Engagements u.a. in München und an der Stuttgarter Oper, entschied Alisa aus dem nichts Kunst zu studieren und live zu performen. Damit war der kreative Hunger noch nicht annähernd gestillt, es kam Cinematography hinzu, sowohl vor als auch hinter der Kamera, diverse Choreografie Arbeiten und eben ihre eigens produzierte Musik die Genreübergreifend in alle Richtungen fließen kann. Nach diversen Singles und zwei Alben auf Bandcamp, die ausschweifenden Techno sowie sanfte R'n'B Klänge beinhalteten, entschied die 27jährige die eigenen Produktionen beiseite zu legen und sich mit Paul Schwarz (Levin Goes Lightly, Karies, Human Abfall) zusammen zu tun um eine EP aufzunehmen und zu produzieren. Dabei herausgekommen ist "Mirrors of the Cosmic Cinema", eine musikalische Reise die Hörer*innen in träumerische Momentaufnahmen entführt. Die 5 Song starke EP überzeugt mit cleverem Songwriting rund um zwischenmenschliche Wahrnehmung und kleinen alltäglichen Geschichten. Durch technische Finesse scheint sich die Zeit beim Hören auszudehnen und lässt somit Realitätsflucht und kleine Gedanken Abenteuer zu. Eine Mischung aus Indie Bedroom-Pop, Contemporary R'n'B und einer brise psychedelic Soul wird verfeinert mit treibenden Rap Passagen und jazzigen Drums, das zeigt die Vielfalt und das Talent mit dem Gaisma Genres aufbricht und miteinander vereint.

”A Cross The Universe” ist ein Dokumentarfilm aus dem Jahr 2008 über das französische ElektronikmusikDuo Justice unter der Regie von Romain Gavras, So Me und Justice selbst. Es ist die erste Veröffentlichung
von diesem auf Vinyl und enthält ein stürmisches Set, das im Concourse Exhibition Center in San Francisco
aufgenommen wurde. Im Verlauf von 18 Tracks, darunter Teile von Soulwax, Franz Ferdinand, Klaxons und
Metallica, enthält es Justice-Klassiker wie ”We Are Your Friends”, ”D.A.N.C.E.” und ”Waters of Nazareth”.
Kurz nach der Veröffentlichung ihres ersten Albums ”†” komponierten Justice 2008 für eine Modenschau
von Dior den Titel ”Planisphere”, ein kultiges und episches Stück, das ganze 18 Minuten lang ist. Nun
ist der Track zum ersten Mal in einer physischen Ausgabe in kompletter Länge, bestehend aus 4 Teilen,
erhältlich.

Through Twelve is an electronic-dyed combo powered by 80’s synthpop and shiny post-production by Italoconnection. Their Mini LP “Inner bridges” is full of layered basslines, pulsating rhythms, catchy vocals and retro synth warmth. Tracks such as the richly melodic “Silent Radio’ and the New Order-ish sweeps of “New Town” are irresistible invitations to stand-up and move your hips.

T12 have a tendency for emotive analogue leads, expressive pads and inimitable synth sequences, in duet with electric bass phrases.

Through12 signature sound becomes immediately recognizable in the dancefloor-ready song “This Love”, starring Italo disco icon Fred Ventura. “Silent Radio” receives an exuberant electro-remix treatment from Italoconnection and “This Love” goes hand-in-hand with Mono Han version.

Based in rural New Mexico, William Fowler Collins (b.1974) is a composer, recording artist and performer. His music extends across and beyond many genres including drone, minimalism, and free improvisation. He records and performs in both solo and group contexts. Collins has released music on the SIGE, Type, Blackest Rainbow, Handmade Birds, Sicksicksick and Root Strata record labels. In addition to his work as a solo artist, Collins has several collaborations including Thalassa with Aaron Turner and Mesa Ritual with Raven Chacon. He has also collaborated with Marshall Trammell, James Jackson Toth, Mamiffer and is currently working on new music with Margarida Garcia.

Alone Inside the Walls of Night is music for Mellotron, violin, synthesizers, and electric guitar. It was completed in 2022 and is dedicated to Maria Valentina Chirico. It features Heather Trost on violin. Artwork by Chris Bigg.

"The tape is bleak, quite literally – the entire narrative is subsumed by the slate-grey oppression of winter, seemingly every scene soaked by perpetual torrents of North West rain. In fact, you'll probably never find a better evocation of the foul weeks before the respite of Christmas sparkle; those late November days of frozen, sodden-coated darkness on the silent walk home from work." – Stonecirclesampler.

Checkpoint Charlie – a border crossing that stands for separation and reunion, division and reconciliation. Follow VISION into the deep shadow of the Berlin Wall and witness a fateful love story.

КПП “Чарли” – пограничный пункт, означающий разлуку и встречи, разделение и примирение. Следуйте за VISION в глубокую тень Берлинской стены и станьте свидетелем судьбоносной истории любви.

Checkpoint Charlie – un poste frontière qui représente la séparation et la réunion, la division et la réconciliation. Suivez VISION dans l’ombre profonde du mur de Berlin et assistez à une histoire d’amour fatidique.

Checkpoint Charlie – ein Grenzübergang, der für Trennung und Wiedersehen, Spaltung und Versöhnung steht. Folgen Sie VISION in den tiefen Schatten der Berliner Mauer und werden Sie Zeuge einer schicksalshaften Love Story.

Originally released in 1965 and unavailable on vinyl since 1967, Frost and
Fire, A Calendar Of Ritual and Magical Songs,was the debut album from
the then new group on the folk scene
Originally from Hull, two sisters, Norma and Elaine (or 'Lal'), their brother, Mike
and cousin, John Harrison, had been singing family songs all their lives and as a
new folk group had been attracting attention for their powerful and exciting
performances. They were taken into the studio by Bill Leader to record an album
for Topic Records and what came out of the sessions was incredible. Frost and
Fire was essentially a concept album, the songs following the passage of the
year. It's effect was seismic, standing the folk scene on it's head and influencing
not just folkies but the ever growing and eclectic rock scene as well, particularly
Traffic whose magnificent "John Barleycorn Must Die" came directly from Frost
and Fire.
Sympathetically and carefully re- mastered from the original master and cut at
45rpm for optimal quality, the resulting sound on this new release of Frost and
Fire is nothing short of a revelation. Belying it's years, the power and sonority of
he voices hits the listener just as hard now as it did in 1965.
Ground Zero for anyone discovering English folk song and culture" - Tradfolk.co

Talkbox is multidisciplinary artist Michael O’Mahony’s third album and his first for 33-33. It’s his most complete and cohesive music project to date, a culmination of ideas, happy accidents and compositions that have been cut up and re-arranged over many years. The album’s sonic signature is the Vocaloid software synthesizer – the titular ‘talkbox’ – famously by Japanese cartoon Hatsune Miku. O’Mahony became aware of Vocaloid in 2015 through the popular Nyan Cat meme, which em marketed ploys the software. Excited by the emotive potential and realism of Vocaloid’s voice synthesis, he began to imagine an album that combined its capabilities with italo disco- and UK garage-inflected sounds. As the version of Vocaloid O’Mahony had access to sang only in Japanese, O’Mahony relied on Google Translate to obtain the required characters to enter into the software. In early experiments with the software, the north Londoner translated BBC match reports from his beloved Arsenal FC. Eventually, he amassed a library of syllables and phonetic sounds, from which he created the melodies crystallised on the record. As far as we know, these vocal lines have no meaning in lyrical terms. O’Mahony works largely in an iterative way; song ideas are reworked over and over in different styles, sometimes over a period of years. Multiple versions of a song might appear on an album, each one with its own particular nuances in feeling. Music perhaps does not always flow out of O’Mahony, but emerges over time. O’Mahony’s album forms part of his wider project: an analysis of his subjectivity through art and psychotherapy. The music complements his writing and video work, which feature in his performances. He writes in chains of association, speculating on topics such as family dynamics, or the meaning of recurring dreams about a childhood game console. His video practice features footage of objects found in his parents’ house, such as his sister’s childhood My Little Pony toy and his retired psychiatrist father’s lecture tapes. The music, at once synthetic and heartfelt, imbues the writing and video work with a strange tenderness. Taken together, these various aspects of O’Mahony’s work form a meditation on the emotional attachments we make to consumer objects and the role of early life in character formation. Tracklist 1/Talkbox 2/More Succinct 3/Electricity 4/Not Giving Up 5/Dinosaur 6/Trumpet 7/Electricity (Rock Version) 8/Aliss 9/Be Good 10/Not Giving Up (Slow Version)

DMC World Champion and IDA World Champion. With the all new 'fresh' sound, once again a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with one side at 100 bpm and the flip-side at 133 bpm. Weighing in at 40 gms.

Born of chance meetings in Accra, the band brings together a Burundian producer and vocalist, Betina Quest; with a Ghanaian singer-songwriter, Eli A Free; and a German percussionist and multiinstrumentalist, Ma.ttic. Nyamekye Junction take their name from a bustling junction in the Ghanaian capital, where a number of major roads merge, embodying the musical approach of the band: a singular sound at the junction of their cultural heritages.

In Eli’s words, ‘Dasein’ (from the German for ‘existence’, ‘being there’), captures “the need to live in this moment here and now with a heart full of gratitude” while exploring a number of interlinked themes, including the importance of one's environment – cultural and political, as well as physical - in situating, shaping and explaining each individual’s identity.

The band adeptly channel a wide range of influences, from the Ghanaian legends Ebo Taylor and Osibisa through to US mainstays such as Nina Simone and Erykah Badu; with equal regard given to UK innovators like Benjamin Clementine and Mala. The resulting debut EP ‘Dasein’ is a stunning collage which showcases the band’s impressive range and evolving sound by traversing a diverse range of moods, rhythms and textures.

The lead single ‘GMT’ (short for ‘Ghana Man Time’) is a dancefloor-ready track that carries a deft political message. Driven by a weighty bassline alongside punching drums and percussion, for a rhythm section that would be at home in any broken-beat set, the song explores and emphasises differing conceptions of time between the West and Africa with a playful irony.

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans.

Belgian composer Otto Lindholm presents his new LP titled FortyTwo, releasing in early June on Totalism with support from Phantom Limb. Consisting of two complementary entities of equal duration (21 minutes), the album really is one. Together, the two longform pieces are like two sides of one coin, like the two motions of a rocking chair; forwards and backwards. The first piece titled “Reg” explores the simplicity of the stroke with veiled, beautiful melodies, while the second called “The Donkey Theory”, built on an octatonic scale, delves into deeper, more atmospheric zones.

FortyTwo is intentional in its duration, as Lindholm tries to question our relationship with time itself. Extending and expanding the natural sounds of the double bass and expertly arranging and layering them, he is able to toy with time, refocusing the experience on the act of listening itself. The results are rich tapestries of voluptuous tones, deeply felt emotions and elongated melodic motifs which are completely enveloping, almost overwhelming. As the Brussels-based composer and double bassist's focus shifts from instrumental performance to composition, he delves deeper into the world of drone music influenced by contemporary classical composition.

Otto Lindholm is a composer and double-bassist based in Brussels. He has released music on Icarus Records, Gizeh Records, Houndstooth, Aurora Borealis Recordings, Bedouin Records, Midira Records, 7k!, Takuroku and other labels. His new LP, FortyTwo, is due to be released in 2022 on Totalism with the support of Phantom Limb. He is a keen collaborator, working alongside many artists such as Ross Tones aka Throwing Snow, Aidan Baker, string quintet BOW, Jean D.L., P.Maze, and others.

'For the born Londoner the country ever remains an incredible mystery. He knows that it is there – somewhere – but he has no true vision of it. In spite of himself he Londonises it, suburbanises it; he sticks a gas lamp or two in the lanes, dots some largish villas of red brick beside them, and extends the District or the Metropolitan to within easy distance of the dark wood.' – Arthur Machen, Far Off Things

Following on from acclaimed recent releases on Hallow Ground and Boomkat’s Documenting Sound series, NOISEEM is a major new work from Japanese sound artist/instrument inventor Yosuke Fujita, who performs under the name FUJIIIIIIIIIIIITA. Where Fujita’s recent recorded output has focussed primarily on documentation of his remarkable self-built pipe organ, NOISEEM is the culmination of half a decade of work with highly amplified water. The evocative and timbrally rich sound of water has inspired concrete and experimental music practices since ground-breaking works such as Hugh Le Cain’s ‘Dripsody’ and Knud Viktor’s obsessively aquatic ‘Images’. However, other than his compatriot Tomoko Sauvage, few have explored the possibilities of water in live performance to the extent that Fujita has, constructing a series of water tanks that, with their pumps and amplification controlled by the performer, become a new musical instrument. The recordings contained here are drawn from live performances in Tokyo and London, edited and mixed by Fujita into two side-length pieces dominated by water, pipe organ, voice and subtle electronics. On ‘AWA’, which occupies the LP’s first side, the listener is immediately immersed in an aqueous world of recognisable drips and splashes, as well as more mysterious squeaks and squawks. While the liberal use of delay at times conjures up the sound world of early electronic music, the sparklingly clear amplification is unmistakably contemporary, lending the music a stunning weight and tactility. Building over several minutes, the piece eventually comes to a rapid boil, criss-crossed by washes of white noise splashes of electronics, before the untempered long tones of the pipe organ enter. The slowly shifting harmonies lend the remainder of the side a meditative, almost oneiric quality, inviting listeners to lose themselves in the aquatic layers that ripple across the harmonic foundation. On the second side, ‘UZU’ begins more starkly, with a single rapid bubble, quickly joined by full-spectrum wooshes and silvery, ringing tones. After a few minutes, the music undergoes a radical, entirely unexpected shift with the entry of a distorted, auto-tuned voice that repeatedly cycles through ascending and descending melodies. Left alone at times to be heard acapella, this mysterious element at times takes an odd resemblance to dhrupad singing. Eventually joined by rich, sonorous chords from the organ, the high tones of Fujita’s voice, and water, the piece takes on an ecstatic quality, channelling the sublime expansiveness of the natural element on which it is built. Disappearing as abruptly as they entered, the voices then make way for a haunted coda of isolated drips and distant whistles. Far from the intellectualised abstraction of much sound art, NOISEEM is strikingly immediate, both rigorously experimental in its explorations and unashamedly direct in its musicality. Tracklist 1. Awa 2. Uzu

The four tracks that comprise Giving Water to the Dead were composed using sound materials originally recorded for the sound installation Histories of the Present, a public artwork commissioned by the City of Berkeley in 2019. But where the installation was about a melding of practices and sounds into a single gesture, Crouch and Novak wanted to take the opportunity of a split release to exploring divergent paths starting from common ground. For Giving Water to the Dead, each artist started with the same source material and plotted their own direction without direct influence from the other. As artists in a relationship and sharing a studio this was no easy feat. Despite the planned divergence the resulting tracks compliment each other, as the artists do.

Yann Novak and Robert Takahashi Crouch are a creative and romantic couple living and working in Los Angeles. Their collaborative practice incorporates field recordings, photography, and video as tools to investigate the relationship between site and subject. Their performances and installations have been presented at the AxS Festival, Pasadena; California Museum of Photography, Riverside; Desert Daze Festival, Southern California; Downtown Berkeley BART Plaza, Berkeley; Gays Hate Techno, Northern California; Hammer Museum, Los Angeles; LACMA, Los Angeles; PØST, Los Angeles; Tanya Bonakdar Gallery, New York and others. Their compositions have been published by The Tapeworm, Murmur Records, Estuary Ltd., IO Sound, and Untitled & After.

Three albums in the novelty has worn off, but Dengue Fever has smartly
chosen to keep evolving - Venus on Earth is at once the band's most
accessible and most varied release
A recap: when first heard from in 2003 on their self- titled debut, Dengue Fever
was like no other band, fronted by a Cambodian-born woman, Chhom Nimol, who
paid homage to that Asian nation's pre-Pol Pot cheesy psychedelic-cum-loungesurf-garage pop sound of the '60s/early '70s. For Venus on Earth, the mainstream
beckons, or comes as close to beckoning as it's ever going to for a band as nonmainstream as Dengue Fever. Nimol's vocals are as beguiling as ever, Ethan
Holtzman's Farfisa organ still swirls, Zac Holtzman's guitars still chime and chunk,
and Paul Dreux Smith's drums clang happily along. With horns provided by David
Ralicke and bass from Senon Gaius Williams, Dengue Fever has softened some
of the rougher edges, injected some serious soul, and added more swing to their
thing. "Oceans of Venus" could be an outtake from the first B-52's album, "Clipped
Wings" a lost Blondie tune, and "Woman in the Shoes" is just one of the most
cuddly pop songs in ages. The groovelicious Nimol- Zac Holtzman duet "Tiger
Phone Card," a tale of a long distance Phnom Penh- NYC romance, is the pop
smash Yoko Ono might have had in an alternate universe. Drenched in reverb,
soaked in sweat, marinated in some phantom historical moment yet tethered to
the now, Dengue Fever is more innovative and resourceful than 99-percent of the
bands that receive 99 times the publicity.

DENGUE FEVER's debut album was all covers of the cute, romantic
Cambodian pop of the 1960s - Having gotten that out of their systems,
they've followed it with an album of original material that shatters the
language barrier with mildly psychedelic, blissed out pop
On "Tip My Canoe", Zac Holtzman takes a stab at singing in Khmer, laying those
long, mellifluous syllables over a tweaky vamp, as Nimol uses her imposing pipes
to trace accents so dynamic that they sound almost vocodered as she leaps
around her impressive range. "Sni Bong" channels Dick Dale through its verses
and explodes into crunchy garage rock choruses, with a– wait for it– Cambodian
rap bridge. "One Thousand Tears of a Tarantula" pairs sun- baked spaghetti
western guitars with Nimol's clipped, forceful singing, and acoustic ballad
"Hummingbird" closes the album on a quiet note, with Nimol sliding between
English and Khmer. If that fact that Dengue Fever's music has been used in films
as diverse as Jim Jarmusch's Broken Flowers and the John Cusack vehicle Must
Love Dogs isn't proof enough of its potent versatility, then the ease and unity with
which the band conflates idioms should be.

The seductive first full-length from electronic composer and multi-disciplinary visual artist Amosphère. Born in China, partly educated in Japan and now residing in Paris, her work came to the attention of a wider circle of listeners when she was invited by Laurel Halo to perform as part of a 10-hour durational ambient concert at London's Mode Exchange in 2019. Amosphère uses a careful selection of vintage electronics, sophisticated harmonic sense, and keen compositional intelligence to invite listeners into a meditative sonic space. Time expands and contracts, simplicity reveals complexity, and repetition becomes patient transformation. Spreading out over six expansive yet self-contained tracks, more die of heartbreak serves as a perfect introduction to Amosphère's warmly enveloping approach to analogue sound. Developed from scores (contained in the accompanying booklet) using techniques from concrete poetry and graphic notation as well as fragments of traditionally notated material, these six pieces take in a broad sweep of moods and approaches, from the gently burbling layered monophonic patterns of the opening 'circuit of unconsciousness', reminiscent of the sun-drenched synth figures of 70s Alvin Curran, to the haunted gliding tones and reverberating pops of the closing 'melting a piece of cadmium'. At times starkly minimal and making bold use of the stereo field, Amosphère's production approach keeps the grit and grain of her analogue gear intact, at times calling to mind the work of pioneers like Delia Derbyshire and Eliane Radigue.

"I'm trying to document emotions, more than specific events and
memories - I mean that's what my music is at the end of the day - I'm just
documenting"
This is Lucy Liyou, the Philadelphia- based experimental musician behind
cinematic sister LPs Welfare and Practice. Working in their Korean- American
lineage and pulling from childhood memories, Liyou takes inspiration from
Pansori (Korean Folk Opera), a style of Korean musical storytelling; and Korean
drama soundtracks. Collaging text-to-speech (TTS) with their own voice, personal
field recordings, audio samples from memes, Tumblr, and YouTube videos,
synthesizers, and lush acoustic piano, Liyou creates their own distinct narrative.

Broc Recordz presents its new 7inch of the legendary Janko Nilovic with the Soul Surfers!
Enter in this psychedelic and groovy record with a crazy artwork made by Fabricio Orellano from Argentina.

A repress offer using exactly the same stampers as our first run!

The masters were sourced from original reel to reel tape, we carefully remastered this classic release while retaining all the character of the original. Mastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

Alex the Fairy is an artist based in Berlin producing music with an emphasis on electronic and concrete methods. Alex the Fairy is also part of the 3Ddancer trio, a live act focusing on improvisation and expression using electronics.

Alex The Fairy writes: "I had sent The Tapeworm tracks before, but I was being difficult so was asked to send a new bunch, with a deadline. I sent the new bunch, a fairly odd collection expecting perhaps some of them to be combined with the older stuff but not seeing any coherence in them. I figured The Tapeworm would find at least something. To my surprise the suggestion that came back was exclusively the tracks I had sent the second time, and, re-listening through the tracks in this new order after returning from a Christmas dinner lying on the floor of my nephews bedroom gave them a completely new context. Despite them being quite varied in terms of age (one had been flung together a few days earlier on the train while another was approaching Schulreife) they seemed to meld together in such a way that I hardly recognised them…

Last year my grandmother died. My last grandparent. I had put off seeing her during corona, as I thought it best not to put her at risk and had almost left to visit her days before her death but had delayed my departure because of a medical appointment. My failure to her weighs heavy on my mind - fates grimacing grin: too little, too late. The approaching march of death, one generation closer was a confrontation I wasn't prepared for.

While clearing out her flat in the following weeks I had kept some of my grandfathers cassettes, live recordings of jazz greats, Pink Floyd, Sade and some classical among them, none originals, several presumably from the radio e.g. a church organ rendition of Bach. At the time I wasn't sure why I was hanging on to them, other than the urge to hoard, and that it felt wrong not at least to keep some. Half a year later, half way through mixing this cassette, suffering from my first bout of COVID, I had the insatiable urge to hook up the cassette player I had received from my grandfather after his death around nineteen years earlier and had been dragging along with me since. I stuck a cassette in only to immediately return to the safety of my covers. I began to work my way into what I had saved, hearing the fruits of my grandfathers labour decades before. It felt like quite an intimate interaction with someone I had long lost contact to/was long gone. Quite a wonderful thing, these time traveling cassettes.

I returned to the tracks to mix them shortly before my corona/cassette experience, with a new mixing console at hand. I had been looking for one for several years, but nothing had ever clicked, until I found this old broadcast desk 30 minutes from my place (it also coincided with a payment from a job the sum of which matched the price identically… fates return). Installing became a massive hassle and I doubted my decision continuously, but the further it was implemented the more it made sense. The first track I recorded with the mixer is on this cassette. Shortly before the mixing I was introduced to an Effektgerät by a friend, Rapha. Another good friend Art lent me their one, and I ended up using copious amounts of it throughout mixing, alongside my usual space creators. All the tracks on this release were mixed again on this mixer and are in a sense all a bit of a dub of the originals. I wouldn't have worked this way without the mixer, and the effect gave me a dimension I hadn't had before, so, from a technical perspective, the mixer and this effect define this release, giving it a coherence, at least for me. Emotionally of course the chaos and turbulence of the preceding year and my newfound appreciation for the medium give it a meaning I will struggle to formulate." – Alex The Fairy, Berlin, 9 May 2022

The Howling is a collaborative project started by writer Ken Hollings and sound artist Howlround devoted exclusively to their shared love of text, audiotape and trash aesthetics. An intense collision of spoken word and analogue tape effects, the Howling's first performance took place at the Iklectik in September 2019 as part of a special programme to celebrate The Tapeworm's 10th anniversary.

Despite the pandemic, they have managed to continue working and conferring together since then, sharing sound files, texts and mixes online, which has resulted in All Hail Mega Force, their first full-length release for The Tapeworm. The two extended tracks contained on this audiocassette reflect their shared interest in Fluxus and how informal rules and permutations can be set up to work themselves out through loops and repetitions. A straight line connects Terry Riley's tape experiments in Paris from the early 60s with their experimental recordings in the Wimpy Bar on Streatham High Road, one of their favourite meeting places. 'The idea of instant, disposable one-off creations appealed to us a lot at the time,' The Howling explain, 'particularly as both pieces were conceived and developed during different phases of Covid lockdown in the UK.'

The title and source material are derived from the kid's adventure movie MegaForce, starring Barry Bostwik and Michael Beck. Designed to sell a range of Mattel hi-tech action toys, MegaForce tanked at the box office but lives on in the collective consciousness of those who share with The Howling a special love for Trash and Trash Aesthetics.

The two tracks also share similarities in approach and realization.

'All Hail Mega Force' was created by reading combinations of the words 'All Hail Mega Force' into a voice memo recorder, transferring it to tape, cutting the whole thing as a single long loop and then stretching it across three reel-to-reel machines simultaneously, using two pencils and a pint glass full of loose change to try and maintain sufficient playback tension. Over time the loop started to degrade, which accounts for the increasingly slurry and unpredictable playback, plus frequent ruptures caused by the tape becoming jammed and having to be tugged through the machine workings by hand. Twenty-four minutes later and the result was a completed new work and a slight backache.

The text for 'Are You Man Enough For Mega Force?' was recorded live in the Wimpy Bar on Streatham High Road, 28 November 2021. It was cut to tape and looped on 3 December 2021 at Warrior Studios, Loughborough Junction. Dragged by motor and then by hand across two tape machines with copious amounts of closed input feedback provided by a third rushing in to fill the gaps. One take with no effects or overdubs, but one tiny edit in the middle when something fell over.

To celebrate tthe 60 years of the release of the first 7 inch of the greatest rock band of all time, rediscover all the tracks that influenced the sound of the Beatles in a double vinyl. With : Elvis Presley, Gene Vincent, Bill Haley, The Everly Brothers, Little Richard, Chuck Berry, Ray Charles, The Isley Brothers, Peggy Lee...

Boris Barksdale's first full length on the label is the final joyride of the human mind. Over two sides of screwed proto-beat, street electronics and twisted metal ambiance, Mind Over Matter picks apart the medias domination of the world we live in, drawing on internet advertising campaigns and social commentary to show you how messed up things have really become.

The record builds on from Boris' inclusion in Natural Sciences' Future Works & Age in Decline compilation series.

Dengue Fever on Vinyl! This Deluxe Reissue contains 5 bonus tracks not
availble on the original release / w download
Fronted by amazing vocalist Chhom Nimol, Dengue Fever has surprisingly
universal appeal - Chhom herself is already quite accustomed to seizing the
hearts of listeners (including the King and Queen of Cambodia), as she comes
from a family best considered as a Cambodia pop music dynasty– not unlike a
Cambodian version of the Jacksons. The rest of the band is no flake-fest either,
consisting of Zac Holtzman (Dieselhed) and his brother Ethan on Farfisa organ,
Senon Williams (Radar Brothers), David Ralicke (Beck) and seasoned drummer/
engineer Paul Smith. Their covers stay remarkably true to the crazy party music
spirit of the '60s- and '70s-era originals. But there are also original songs, some of
which veer off into the darkened corridors of lost love and ghostly noir
romanticism, dissolving sometimes into spaces of genuine bleakness and
tragedy — all in the Khmer tongue. Far from mere novelty or cheap Orientophile
thrill, Dengue Fever keeps listeners on their toes, dancing to their way-out tones.
The Deluxe Reissue contains 5 bonus tracks not availble on the original release.

Geo Rip is John Jones (Dope Body, Nerftoss) with Aaron Leitko and Mike Petillo (Protect-U). Broken samples and electronics improvised live to tape.

Their first time on vinyl, following an ‘insane’ cassette on TTT in 2019 and releases on their own Washington, D.C. based U-Udios label.

Limited!

Artist-turned-writer-turned-DJ-turned-producer-turned-chef Kiki Kudo, following up releases on Good Morning Tapes, Workshop and Incienso with two kitchen wave rollers for TTT.

Casual Ghetto Muzik from Istanbul, 212, Beyoglu.

Repress in green vinyl !

DMC World Champion and IDA World Champion

Practice Yo! Cuts v9

Packed full of fresh phrases - a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with both sides at 100bpm.

Weighing in at 40gms.

Genuine, warm, almost primal house music to celebrate the first release of Time To Play Records, a label founded by Filippo Tazzer on the wave of the ten-year Vicenza party dedicated mainly to black music. The debut of the label bears the signature of Reekee, Emilian producer founder of Wrong Notes Records and globally recognized for the releases on Uzuri Rec. And the prestigious collaborations with artists such as Kai Alcé, Erik Rico, Patrice Scott and Alex Attias .Side A opens with “Don’t look back”, which will then also be the title of the ep, in which you breathe the air of Detroit for the construction of a powerful and hypnotic rhythm, embellished with refined piano turns. Then follows Butterfly, who blends the intense bond between Reekee’s exquisitely house background and his passion for jazz, which is touched with light keyboard virtuosity.On the B-side, Reekee “completes his work with Wanna be Away” by flirting with his Drum machine to reach the territories of the broken beat. The ep is completed by a remix of Don’t look back signed by Colosimo (it will be his second release of Time to Play records), capable of essentially working on the drums of the song and giving it an acid touch perfect for the most energetic tracks.

Ransom Note stalwart Bawrut presents his debut album "In The Middle", featuring vocalists Liberato, GlitterU¥U¥, Cosmo and Chico Blanco. The LP is a striking eleven-track journey through sunset pop, electronic melancholia and delusive migrations taking place around the Mediterranean.

Ransom Note stalwart Bawrut presents his debut album "In The Middle", featuring vocalists Liberato, GlitterU¥U¥, Cosmo and Chico Blanco. The LP is a striking eleven-track journey through sunset pop, electronic melancholia and delusive migrations taking place around the Mediterranean.

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. For Fans of New Mastersounds, Soulive, Jimmy Smith, Khruangbin.

For Fans Of: New Mastersounds, Soulive, Jimmy Smith, Khruangbin. Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. Third full-length LP. Their KEXP video has over 8 million views and no other KEXP upload in the last three years has more views 60k followers on Spotify. Previous studio album entered at #1 on Billboard Jazz charts. “An obvious mastery of their craft….” MOJO // “keyboard cool recalling bygone times…” UNCUT // “…purveyors of the snappiest grooves…” SHINDIG

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. For Fans of New Mastersounds, Soulive, Jimmy Smith, Khruangbin.

Lockdown took its toll on Clive. Not the isolation or sense of impending doom - that was normal - but specifically the worldwide marmite shortage in April. On the verge of a 'Driving to Dundee barefoot' style meltdown, Clive found solace in his 20 year obsession with Alan 'foot on a spike' Partridge.

Taking Musique Concrete to its textbook conclusion, Clive has made music only using sounds from TV series 'I'm Alan Partridge'. Over 100, mainly foley samples were repurposed into the two title tracks of the Alan EP.

Alan A is a raw yet melodic, big plate of House. Containing everything from drawer slams to air bass, cereal destruction to Black Beauty, this orchestra of found sound makes for some unique and exciting rhythmic textures. Grab a cup of beans and enjoy.

Things take a dubby turn for Alan B. Late night broken beats and sultry bass worthy of Alan's Deep Bath. Featuring Lynn on jungle time-stretched vocals.

The EP is bought to a close by off-kilter acid-tinged synthwave nugget, Linton TT. It doesn't fol-low the Partridge sampling rules but needless to say has the last laugh.

Bonus Easter egg for the vinyl heads is a "Dan!" locked groove at the end of side A. Cook a cat!

Label info:
Income Trax is Clive from Accounts' filing cabinet of curiosities. Home for his more eccentric and exotic ideas.

Artist Bio:
Regional tiddlywinks champion, stationary cupboard loiterer and all-round beige sky thinker, Clive From Accounts likes two things; pens and music. But mainly pens. Using springs, tape and old synths with fonts he admires, Clive creates the musical equivalent of warm photocopies. If it's going to be that kind of party, Clive's going to put his Filofax in the mashed potato.

It's been an interesting couple of years for Clive. After being picked up by keen-eared funk wizards Fouk, Clive's vinyl debut hit the shelves perfectly to coincide with the largest record shop and club closure in living memory. Undeterred and with a fire in his belly no amount of pepto-bismol could squash, he pressed on.
A string of releases on highly respected labels On The Corner in London (making the Guardian's best tracks of 2020) and Dirt Crew Recordings in Berlin have led him nicely into the second half of 2021 with an EP on New York disco colossus Razor n Tape and the debut release of his own label: Income Trax.

These recordings, made in 2001 in the weeks before September 11, constitute a unique historical document. They are spoken-word adaptations of scenes taken from Destroy All Monsters, the first book by acclaimed writer and 'pop culture alchemist' Ken Hollings. A multistranded postmodern epic, Destroy All Monsters offers a radical retelling of Desert Storm, America's military operation targeting Iraq, using imagery derived from MTV videos, CNN news reports, Japanese kaiju movies and anime, Hong Kong action flicks and tales of alien abduction. The book's entire narrative nervously unfolds in an unstable of world of terror monsters, wrecked cities and dangerously tall buildings: where an event like 9/11 is inevitable. The book was officially launched on September 13, but distribution in the United States was delayed when ports on the Eastern Seaboard were closed to shipping post 9/11, leaving copies of the book stranded in the Atlantic. 'Published the very week of the "attacks on America",' Toby Litt wrote at the time, 'Destroy All Monsters is genuinely, spookily prescient…as a progress report on Planet Earth, it seems to have timeslipped onto the front pages.' Lydia Lunch praised it as 'a hallucinogenic spiral into future nightmare', while The Scotsman called it 'mind bending reading.'

In the summer of 2001, Ken Hollings was approached by sound designer and electronic music composer Simon James, who wanted to create an audio adaptation of scenes from the novel to share with subscribers to a spoken word channel launched by totallyradio. The idea was to record Ken reading his own words and then embed them in a soundscape that evoked the fragmented complexity of the original text. Ken concentrated on a small handful of threads from the overall narrative, while Simon directed and engineered the final recording. This resulted in the two sequences of words, sounds and electronic tonalities contained on this audiocassette: an unsettling portrait of people about to be overtaken by events.

In October 2001, having just got married in London, Ken and Rachel Hollings went to New York for their honeymoon, just as they had originally planned. They spent an unforgettable week in a city struggling to recover from the seismic changes that had just taken place while a sudden wave of anthrax attacks on government and media offices filled the news cycles. Rachel took a photograph of Ken at Ground Zero, where crowds of onlookers continued to gather, and the air still smelled of burning.

Ken Hollings is a writer and broadcaster whose main concern is the relationship between culture and technology. He has written and presented numerous critically acclaimed features for BBC Radio 3, BBC Radio 4 and Resonance 104.4 FM His other books include Welcome to Mars, The Bright Labyrinth, The Space Oracle and Inferno all available from Strange Attractor/MIT Press. His latest book, Purgatory, is due from Strange Attractor in Spring 2022.

Simon James is a producer, musician and sound designer based in Brighton, UK, whose work combines electronic sources with field recording techniques and sound treatments, using sound to transport the listener to fantastical audio worlds. Simon's latest release, Electro Smog, collects electromagnetic field recordings from Shenzhen's electronic markets, recorded while he was in China at the invitation of Musicity and The British Council.

The Destroy All Monsters audio adaptations marked the first occasion Ken and Simon worked together – subsequently they collaborated on the 12-part series Welcome to Mars for Resonance 104.4 FM and Connecting, an audio portrait of the original 'phone phreaks', for BBC Radio 3. In 2021 they teamed up again to make Fast Forward, a six-part documentary series for Kasperksy Lab.

Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore /

Evan Lindorff-Ellery is a visual and sound artist based in Kingston, New York, and co-owner of Notice Recordings. "No Water Recordings 2011" was created in Ravenswood, Chicago using a hydrophone against a bridge, above water, and a contact mike and ceramic insulator against a brick. The recordings were captured to cassette which was transferred 10 years later by Branic Howard. This album exists as an antithesis of much of Evan's recent fascinations with water, yet accommodates similar poetic endeavours.

Bill Thompson is a sound artist and composer. His work is concerned with various aspects of perception and embodied presence. Using found objects, field recordings, repurposed electronics and digital media, his installations encourage active attention to each moment. He applies this same strategy within his compositions which often include sustained tones, densely layered textures and indeterminate or improvised structures.

Although trained as a guitarist, Thompson has worked primarily with live electronics for 20 years. In 2016, he returned to guitar (by Moog) combined with miscellaneous tabletop devices, found objects, flashing lights and the occasional vibrator.

His work has been released on Ash International, Burning Harpsichord Records, Mikroton Records, State Sanctioned Records, and/Oar, Autumn Leaves, Phonography and several compilations. Notable recent performances and installations include the Venice Biennal (2020/21), Pauline Oliveros Tribute (Café Oto 2018), Intraspect Concert 2018, Edinburgh Fringe (2016-2018), NAWR 2017, Sonic Atlas 2017, Organ Reframed 2016 (Installation), What Remains Festival 2016, Sound Festival 2016.

"Black Earth Tongue" is based on material composed when working on the project Mushroom! with the contemporary dance group In the Making for the Edinburgh Fringe Festival 2016. Track titles are taken from (mis)translations of Japanese or Latin names for various fungi.

Sound Wonders: A Series of Epics is the second compilation from Touchtheplants, the imprint and multidisciplinary creative environment founded by Kaitlyn Aurelia Smith and Sean Hellfritsch (aka Cool Maritime). Following 2020's Breathing Instruments, the new collection features sonic responses to a new prompt. Like its predecessor (which explored music as an extension of the human body and the natural world), the medium of focus here dates back to ancient civilizations. Smith invited artists to compose music based on the idea of epics: the long poems and narrative verse works that have detailed deeds and adventures since the dawn of storytelling. The musicians — some of today's most exciting practitioners of experimental sound design, instrumentation, and synthesis — took this directive loosely, realizing a series of vibrant and transportive songs evoking wondrous visions, subjects, and locales.
From Elori Saxl’s chamber piece to Olive Ardizoni’s ode to the strange and beautiful phenomenon of starling murmurations with synth and xylophone tones the album splays out like chapters in a panoramic account of all that surrounds us.

After more than 20 years in the business, HD Substance is still here as a full actor in the global scene.

Missing Link is a three-track EP, printed on Vinyl, signing and opening our new Vinyl release series.

TTR006 is a sophisticated piece by HD Substance, delivering Beats & Pieces 7 and 8, which are techno hypnotic vibe tracks with an electro touch; to complete the EP, we have an outstanding breaky electro track called Lady On The Floor.

Self Learning System present their very ¦rst record and
deliver a new label focussing on conceptual work as well as
interdisciplinary art in full effect. We believe in the human
mind as a self-learning system - creators and originators
connected all around the globe aiming to keep the scene
alive. We want to cultivate a community and platform for
exchange with other artists pursuing music, design, art and
events. Our ¦rst strike comes as “The Arrival Of Unisex &
Ernst”, a split EP of the two labelheads to introduce
themselves and the sound of SLS. The record contains six
analog hardware tools ranging from classic Electro to
Industrial. SELF001 also includes an A2 inlay print of
Dominik Widmanns acrylic painting „Fabric“ (as pictured).
His artworks will cover our ¦rst three records, ¦tting perfectly
with the cold and futuristic soundscapes we want to
showcase. Self Learning System is based in Leipzig, where
we work together with the local R.A.N.D. Muzik record
pressing plant and InchByInch distribution.

Introducing a brand new label of mutant, fusioneering styles from the pulsating brain that rules from the centre of the Firecracker constellation.

The maiden voyage by Healing Force Project traverses further and deeper into the wormhole that was first explored in his Gravitational Lensing EP on Firecracker.

A full panoply of bubbling, semi-submerged, electro-acoustic abstraction, lysergic drones and oblique, polymetric time signatures recalling the work of Italian avant-jazz outfit Gruppo d’Improvvisazione while simultaneously picking up distant echoes from 'Pangaea' era Miles Davis, 23 Skidoo, Source Direct, Squarepusher, The Heliocentrics, This Heat and Mosquitoes.

'Fizz-cracking drum machines and sparring breakbeats knitted with eyes-shut chord progressions and a seemingly mystic sampler that spits pure magick vibes'.

This is electrified, psychozoic jazz fusion for tomorrow's unlocked vortices!

Documented during peak isolation times in Los Angeles, between December 2020 and January 2021. These pieces were performed as Live AV pieces from 2017-2019, at Coaxial Arts, Zebulon and Desert Daze 2019, but not documented in a release until later. Signal processing and sequencing frameworks built in Max 8 with signals generated from Prophet '08, a broken AW16G, 0-coast, Max, and a MC-909. With the context of the electromagnetic medium, the absence of live performance and moving visuals and the new "spirit" of the pestilent times, "Cutting Them All Off" should barely be represented as reworks of the originally performed pieces. What was once pulsing and blasting out of PA speakers live is now referenced as a distant past document. These pieces (for better or for worse) have been removed and cut-off from their contextual source and can only be presented in their displaced/liberated state. Like a fish out of water gasping for air, or the only drunk survivor of a car crash that was his fault.

Christopher Reid Martin started Rotary ECT in 2016. The project focuses on highly active signal processes on synchronized Audio -> Visual signals, with many signals being constructed to self-generate. Much like a rotary machine's rotation, the process is consistent and signalled when turned on. Much like electroconvulsive therapy, a human need to be there to actively monitor and attend to the process and generation of the signals being emitted.

Christopher currently works for Cycling '74, is a curatorial/programmer at Coaxial Arts Foundation and ⅓ of curators (alongside J.Prey and J. Rivera) behind the ephemeral stream Cathode TV/Cathode Cinema. Christopher continues to show gallery works, both virtual and physical, digital and video works and performs in other numerous events and projects such as Bailouts, CGRSM (with Gabie Strong), Shelter Death, Gate (with Michael Morley) and Via Injection. He has performed and collaborated with artists Joseph Hammer, Bryce Loy (RIP), Tetuzi Akiyama, Christopher Thompson, James Roemer, Andrew Scott, Gabie Strong, Michael Morley, Lev Abramov and many others.

Cut A Lonely Figure is the (mostly) solo project of Blue Tapes founder David McNamee. Previous releases include Sugimoto Seascapes (Fractal Meat Cuts), Rothko Horizons (Bloxham Tapes), and In Sea, In Circles, In Concrete (Pan y Rosas Discos).

For this release, recorded at home during Lockdown 1, 2020, Cut A Lonely Figure was: Sarah Angliss (theremin), Maria Marzaioli (violin), Rosie Reynolds (clarinet), Andrew Smith (saxophone), and David McNamee (everything else).

Push For Night is the New York City based duo of Oliver Chapoy and James Elliott. Trafficking in dark, liminal electronics, the duo's sound is an ever shifting morass of psychoacoustic textures and spectral utterances. Evoking eerie, unnatural, and hidden spaces, this is music that exists in the threshold – locked in a constant push and pull of thwarted expectations and sublime release, hovering in a trance state of the always in-between. These seven tracks reference dark ambient, post-industrial, electroacoustic, 90s IDM, even fourth world explorations, but the music never truly slides into any definable style. The uncertain and illusory rule this sonic soil. Recorded by PFN in NYC and CDMX, 2017-2020 using various synthesizers, drum machines, heavily processed field recordings and guitars.

DMC World Champion and IDA World Champion

Practice Yo! Cuts v9

BLACK 7 inch vinyl.

Packed full of fresh phrases - a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with both sides at 100bpm.

Free digital download included.

Weighing in at 40gms.

Music on Hold deliver an LP with strictly "only the hits" in updated graphics and soundbite studio wizardry. It's the shinning neon-colour video game classic you never played in your youth in the arcades. You only dreamed about it after too many bong hits. You think you've heard these songs before? Ha! You've never heard them better brother. Gary Wilson called, and sung you a melody and the Human League stole the synth lines.. then The Spits put lead guitar in slow-motion. This is a record for all four seasons in all TV Colours and black and white nouvelle vague romance. This LP is the first baseball bat you take you A Ferrari parked outside a strip club. This is the flock of seagulls that exploded in the sky The project once a solo affair is now a power-trio featuring funky starship troopers Guillaume Mobstaire and beloved cult-hero Mathis (Police Control, Skategang) in the shuttle. And as they blast off into cyberspace, tThey toss this their first greatest hits out of the cockpit and into your hands.

eon Vynehall veröffentlicht den Nachfolger seines von der Kritik gefeierten Debütalbums auf Ninja Tune!

Auf „Rare, Forever“ erforscht Vynehall zum ersten Mal, wer er als Mensch und Künstler im einzelnen, jeweiligen Moment ist, anstatt in die Vergangenheit zu schauen, um herauszufinden, was und wer ihn geprägt hat. Das Ergebnis enthält dann zwar mehrere Seiten von ihm, aber Abwechslung ist etwas, an das Vynehall in seiner Kunst gewöhnt ist, so beschrieb er in seinem Resident Advisor Podcast 2018, dass er den Dancefloor „links und rechts, oben und unten“ mitnimmt. Auf „Rare, Forever“ begibt er sich auf eine Sieger-Runde. Das Album ist eine wunderbare Mischung aus allem, was er bisher gemacht hat, und bleibt dabei wirklich progressiv; das Endergebnis klingt wie „Nothing Is Still“, nur, dass die Erzählung abgeschwächt und der Dancefloor aufgedreht wurde. „Rare, Forever“ wird sich für Fans von Vynehalls DJ-Kicks-Mix oder seinen eklektischen Ausflügen beim weltbekannten Community-Radio NTS vertraut anfühlen, während es gleichzeitig anders klingt als alles, was er bisher gemacht hat. Auch wenn es viele Dancefloor-Erinnerungen und -Momente gibt, ist es keineswegs eine reine Dance-Platte - stattdessen ist „Rare, Forever“ die klarste Repräsentation des breiten Spektrums an Musik, die er bisher gemacht hat. Zuletzt hat Vynehall mit dem „Studio Ooze“ einen neuen Aufnahmeraum eingerichtet, um seine Kollaborationen zu erweitern und hat für Leute wie Kam-Bu, Wesley Joseph, Kenzie TTH und Jeshi geschrieben und produziert, die in naher Zukunft ihre jeweiligen Tracks veröffentlichen werden.

2012 tracks for the first time on vinyl in an edition of 200 copies

These tracks where once included on a CD-R that came with the first 100 S.M. Nurse 12" EP’s “30th Anniversary 1980-1983” (Domestica Records) - now remastered and better sounding, available for the first time on vinyl including an extra track!

Robby Horsfall († 2013): lyrics, vocals
Menko Konings: compositions, instruments

* remix (2021) by Rude 66

** remake S.M. Nurse track

The dusty streets of apartheid-era Soweto, 27 July 1987. The politically charged funeral of a young activist who fled South Africa to became a commander in the military wing of Nelson Mandela's African National Congress. Police await in armoured cars. The funeral is restricted by specific government decree.

The man being buried is Peter Motau, assassinated in neighbouring Swaziland on the orders of South Africa's most notorious government-sanctioned killer, Eugene de Kock, orders carried out by his secret police unit in a bloody ambush.

For De Kock and the apartheid government, Peter Motau was a terrorist. For the singing, chanting mourners at his funeral, he was a freedom fighter, a hero from the streets of Soweto itself.

ZA87 is a raw audio document of one extraordinary day under apartheid. A father mourns, himself breaking the regulations declaring any political statements at the funeral illegal. Young activists, the "Comrades", sing in praise of the banned ANC's military wing, sirens blare, helicopters hover overhead, a police officer orders all television and photojournalists to leave. Nigel Wrench's microphone remains. Also there is Winnie Mandela, on behalf of the ANC's exiled leadership. Banned from speaking at the funeral, she speaks instead into Wrench's microphone and stages a remarkable intervention as the police seek to detain activists.

The authorities sought to keep the events of that day away from the eyes and ears of anyone who wasn't there. ZA87 breaks that silence.

Nigel Wrench is an award-winning journalist whose career began in South Africa under apartheid. He is the winner of a Sony Award for "Out This Week", BBC Radio's first national lesbian and gay news programme, and a New York Radio Award for BBC Radio 4's "Aids and Me", chronicling his experience of living with HIV. "Few journalists have quite so intimately captured the essence of their era's great moral panics as Nigel Wrench" (The Quietus).

ZA87 is the follow-up to Wrench's acclaimed first cassette on The Tapeworm, ZA86, "a remarkable documentation of South Africa under apartheid in 1986" (Boomkat), "chilling and at times stunningly beautiful" (The Quietus), "stylistically not dissimilar to Adam Curtis's 2015 documentary 'Bitter Lake', its hypnagogic float through the rushes feels curiously vivid, free of the dating or distancing effect further media packaging might bring" (The Wire).

Both tracks produced by Robin The Fog at The Sticky Shed, Penge during lockdown 2020. Side A features a recording of a wine glass. Side B is created entirely from closed input sounds of the tape machines themselves. One take, no edits, no overdubs, no artificial FX. Mastered by Steven McInerney. A.H.M.F. and long live the Wyrm.

Robin The Fog is a sound designer, radio producer, audio archivist, educator and occasional DJ based in London. His work falls under the broad term "radiophonics" and includes composition, sound installation, field recording and documentary. Best known as founder and chief strategist of "tape loop quintet" Howlround, he also produces work alongside DJ Food and Chris Weaver as The New Obsolescents and with Ken Hollings as The Howling. Originally described as a "second wave hauntologist", his current obsession is attempting to use closed-input feedback loops to create primitive techno, which is quite a long way from where he started. His biggest fear is being swallowed by a python, but living in South London he appreciates the contingency is a remote one.

Leif Elggren and Kent Tankred, 3 September 1999, Fylkingen, Stockholm – a small chamber play where The Sons put the small animals on pasture and let them live their own lives, but under strict supervision and with a fixed eye so that no accidents may happen, so that no one is injured, so that no one is ill-informed, or how it might be if not everything is organized and supervised in a well-structured society. You can't just let things be without direction, then there would be nothing at all (or death !!!). No, The Sons give a taste of a well-balanced diet in this presentation, which is expected to take four hours, which will be beautiful and moist and will be able to give a much-needed sense of well-being in these difficult times. Maybe we need another clarification: The animals, here at the service of The Sons, give away their little sounds, The Sons, however, direct them with firm hands (and sometimes a little with force) to follow their wishes. The Sons simply get the cute little fellows to produce sound and together form a musical structure that is not of this world. We'll see how it goes.

Legowelt teams up with medieval music expert Jimi Helinga once again for a new album in their 'para-academic' Zandvoort & Uilenbal project. Folk Triumfator is the successor to the cult 2016 GERUIS UIT SOMBERDORP in which they return to appropriate historical instruments and mix it with 'modern'synthesizers. We can hear a medieval Hurdy Gurdy, A Victorian Harmonium, a 1950's Mixtur Trautonium, an electro acoustic thumb harp and much more, all mingled and amalgated into the unique Zandvoort & Uilenbal sound. It all crackles and squeaks like an old haunted ship drifting into a foggy sinister harbour while being obsvereed by Ligottian clown puppets. We can write how conceptual and arty this all is but let's just say this is hardcore dark ambient with lots of medieval drone space jazz influences to trip your mind out into a region where time and your opinions cease to exist.

Most of the songs were recorded in my flat on cassette or digital four track recorders, although a couple were done in my much-lamented studio above a morgue in The Anatomy Rooms.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

Limited white label 12-inch from Amsterdam's Relmer International.
Dreamy '80s impregnated dancefloor tools. Spaced out and trippy synth gems...TIP!

Compilation album curated by Kaitlyn Aurelia Smith

The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.

From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.

There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.

Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.

An ultra-pitch non skip DJ scratch tool on vinyl by Ritchie Ruftone, with one side at 100 bpm and the flip side at 133 bpm.
Weighing in at 140 gms.

Jimi Tenor & Bizz O.D. met 1989 in a Helsinki club called Berlin. They decided to move to New York City in 1992 to start the band "Public Extacy" which never saw the light of day. A few years later, Jimi had already left NYC but was visiting so the two met to record "Bizz O.D. & Jimi Tenor's Traffic E.P.". Released in 1995 on OZON Records founded by nobody else but Jammin' Unit and Biochip C. Originally a 3 track e.p.but we at Temple Traxx thought that it was the right time to remaster and reissue this acid jewel and add an unreleased bonus track called "Girls" in this limited edited edition. This 4 track e.p. shows once more that the two artists are real inovators and pioneers of a sound that is hipper than ever in 2020.

Iconic cultural engineer and prolific music pioneer Daniel Miller, aka The Normal responsible for the timeless post-punk / wave classic “Warm Leatherette” and founder of Mute Records, collaborates with avant-techno artist Nicolas Bougaïeff to instigate another revolution with the inaugural release as Populist on Avi Caspi’s newly founded imprint The Temple and The Low Dive. Miller and Bougaïeff provide four purist modular techno explorations that are prepared to carry the listener into stellar dimensions. Introductory A1 track “Center” is a sophisticated, minimalist, stripped down piece with dynamic elements and a cinematic aesthetic that introduces the mood of the entire EP, defined by spectral micro movements and a touch of liquid textures.

Further navigation through the EP reveals more of the aesthetic intent while, at the same time, retaining a specific uniqueness found in each track. There is a definitive interstellar cosmic feeling throughout that brings the future back to the present and with B2 track “Temple” we discover that Miller and Bougaïeff are no strangers to a provocative and discerning dancefloor. “Temple” guarantees ecstatic dance floor moments that define experience. The digital bonus track “Dogma” continues to keep up the pace and here is what will be imminently essential for any serious purveyor of explorative techno to include in their repertoire.

This first installment on The Temple And The Low Dive gives us something that is as special as it is unique, paying homage to one of electronic music culture’s most admired artists and icons, and introducing the world to new artists and proponents of the global electronic scene, Caspi and Bougaïeff. TIP!

The life recordings on this tape are raw, unedited transfers from Dungeness by Simon Fisher Turner made with a Sony Walkman Professional WM-D6. With the voice of Derek Jarman recorded on 20 June 1992 in his cottage as he begins to write "Chroma", and sounds from around the nuclear power station in the fifth corner at the end of the globe.

Packed full of fresh phrasing - a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with one side at 83bpm and the flip-side at 133bpm.

Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from Orcas Island and currently based in Los Angeles. After several self-released albums, Smith was signed to independent record label Western Vinyl in 2015, who released her first official album, Euclid, in January 2015. Her latest album, T ides: Music for the Meditation and Yoga , was released in January 2019.
Smith grew up and was home-educated on Orcas Island, Northwestern Washington. She left the island to study composition and sound engineering at Berklee College of Music in Boston, before returning to the island after her graduation.
It was after returning home that Smith discovered synthesizers, when a neighbor introduced her to the Buchla 100 Synthesizer. Having originally intended to use her voice as her primary instrument, and then moving to classical guitar and piano, Smith switched to the use of synthesizer after being leant and experimenting with the Buchla 100 for a year.
Smith formed indie-folk band Ever Isles whilst still at Berklee but left the project after discovering the Buchla 100, explaining, “I got so distracted and enamored with the process of making sounds with the Buchla’s potential that I abandoned the next Ever Isles album”.
When developing her composition skills, Smith used visual aid as inspiration for her music. She has said that she is always composing to a visual in her head, explaining, “Sometimes I let the sound create the image for me and then I build off that. Or vice versa: I come up with imagery that is inspiring to me, or I see something that is inspiring, and then create sounds that I feel match it”.
Recorded in 2013, Tides is a glimpse into the early phase of what has become Kaitlyn Aurelia Smith’s signature approach to electronic music. Composed and played on a Buchla Music Easel––the modular synthesizer that gives Smith’s music its organic feel––this collection of instrumentals is at once uplifting, transportive and meditational.

An ultra-pitch non skip DJ scratch tool with new content on vinyl by Ritchie Ruftone, with one side at 83 bpm and the flip side at 133 bpm.

TROY TOWN are back with their 3rd release and itʼs another dance floor focussed EP from a South East London mainstay. El Prevost has been a fixture of the underground London dance music scene for nearly 20 years - his first label, Linx Recordings, was at the forefront of the garage and grime crossover at the turn of the millennium signing early tracks by Kano, Wiley and Pay As U Go Cartel. However, over the past decade his productions in the world of house, garage and techno have brought him widespread respect amongst discerning A&Rʼs and DJs such as Third Ear Recordings, Patrice Scott and Ricardo Villalobos whilst building his own label and party series ‘No Speakersʼ. This EP is unmistakably indebted to the sounds of London but equally doesnʼt sound like anyone else out there at the moment. ‘A Little Politicalʼ, dripping in dub effects and toughened up with the immense delivery of poet Kyla Jenee Lacey, is full throttle and combines consciousness with a determination to fill dance floors. The broken beat influence of Ladbroke Grove and the Co-Op collective is given a hefty rejuvenation on ‘Nu Jazzʼ. ‘Wheelʼ and ‘Acid Tonerʼ are heads-down, deep and dubby. Both tracks that would ramp up the temperature in dark basements like Plastic People circa 2011.

Written & produced by Jammin Unit & Kerosene

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!

Limited pressings of analog techno and electronic music .

The project highlights the personal outlook of Gaffarel’s underground sound.

known as Gaffy on his previous singular productions, percussive DJ sets and stupendous live acts, this imprint is a new platform for the Parisian artist to introduce his solo work, collaborations and remixes.

He has skillfully blended forthcoming EP’s with a mix of complex mental grooves, meticulous frequencies, conspicuous themes and textures, capturing a musical universe with remarkable knowledge.

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”…

When you talk about DJ Legends, DJ TIgerstyle is up there with the chosen few. With exquisite production skills, DJ TIgerstyle brings back the true essence of earlier Battle Break records to the new! The A side is a journey of beats, samples and sentences. The B side is a collage of skipless beats and samples.