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Recorded at Abbey Road Studios with legendary songwriter and producer Nile Rodgers, alongside the band's original producer Ian Broudie. The multi-platinum selling band released three studio albums between 2004 and 2008, scoring 9 UK Top 40 singles including two Top 10s with ‘Why Won’t You Give Me Your Love?’ and the all- conquering ‘Valerie’, the latter a triple-platinum hit for Mark Ronson and Amy Winehouse. Today they return to share the fruits of their extended time away. The Big Decider comes into view as an album of stark significance to the band, completed by Dave McCabe (guitar, lead vocals), Abi Harding (saxophone, vocals) and Sean Payne (drums, vocals). Written against the backdrop of a decade and a half’s worth of lived experience, it is born under the weight of family tragedies, lives lost and created, reality checks, and home truths faced up to and stared down. Wrestled into shape under the kind of steam that only decades-long friendships - with all their messy fall-outs, make-ups, breakdowns and ultimately love - can muster, The Big Decider became the sound of water passing under the bridge, and love for music, love for each other, and love for creating together becoming the most important thing of all.

Empires rise and fall every day in the human heart, and riding these cycles--stories with no beginning or end, only transformation--churns us through the reckless, ridiculous, rueful, redemptive. A founding member of Lake Street Dive and writer of some of their most enduring songs, Iowa-born and Brooklyn-based Bridget Kearney is known for writing smart, unexpected lyrics and melodies built for a heart-baring dance or an introspective drive. Kearney writes music as if filtered through a camera lens. Her stories, steeped in nostalgia and joy, construct a bittersweet framework around the memories that make us human, and shape who we are. As the absurdity of life abounds, Kearney can hold these fragile snapshots and rolling reruns with evident notes of levity, and compassion for a past self. On her new album Comeback Kid, produced by Dan Molad (Lucius, Buck Meek), there are reminders to cherish the moments that make up the collage of what we see in the mirror, but to also plant our feet firmly in the present, for those are the times that will come to form the future. The tracks hop through time, from the relentless, obsessive romanticization of the past, to unrestrained lust for a different future, all inherit the spirit of resilience needed for any move forward, whether it's to dive back in, walk away, or wrestle with the memory itself. In moments, our Comeback Kid wishes to encase a night in amber to revive it at will, like the old man in Jurassic Park, but ultimately is hip to the bittersweet truth that it will never be the same when you return. Kearney began making Comeback Kid back in 2021, in between her work with Lake Street Dive, and a new position as a songwriting teacher at Princeton University. During the process of Comeback Kid, Kearney took inspiration from her Princeton students, as well as her peers when she embarked on a song-a-day workshop. As she found herself surrounded by the thoughts and processes of others, she was able to pinpoint what it is about songwriting that she truly cherishes: namely, the textures and flourishes that come to form the mood of each creation. Comeback Kid is soaked in vintage synths, Kearney's soughing vocals and delicate-yet-driving percussion that ushers in a bright and serene tenor. "If you're driving, baby I wanna go," she soothes on opener "If You're Driving," welcoming us to the LP with windows down, eyes closed, air rushing through our fingers. It's a celebration of staying in the moment, of saying "yes," even though you know it won't last forever. With references to real psychological games, like Rorschach tests and the phenomenon of Ironic Process Theory, they help build the theme of the mind bending nature of obsession, memory, and perspective. Just like the acrobatic brain games we play in relationships, Kearney plays with language and references, with multiple meanings of "comebacks and coming back," and nods that run the gamut from Samuel Barber's mid-20th century masterpiece Adagio for Strings to Jerry Seinfeld's late-20th century masterpiece Seinfeld. The single "Security Camera" captures the carefree liminal space of reminiscence, as Kearney collects those significant, special moments of a past love. There is no animosity or even sorrow here but rather a warm, propulsive rush of gratitude and awe. "You have these really wonderful, blissful times in your life that are fleeting," she explains. "It's an attempt to keep loving the moments in your past, to carry them with you." These moments are carried with care throughout Comeback Kid, but with an eye on the farcicality of simply existing. Kearney is both sincere and silly, somber yet spirited, expertly gathering the iridescent spectrum of what it means to be alive.

Next on KI/KI's slash imprint is DINA. The Berlin-based DJ and producer and co-founder of Nachtcrew has been a very welcomed guest on KI/KI's all nighter party in Amsterdam's Lo-fi which resulted in a close friendship and ultimately an exciting label debut on slash.
Her sounds could be described as etheral trance, it's fast paced, yet emotive and very functional. And for slash007 she brings nothing less. Four tracks of dreamy escapism into the long nights. It's an impressive combination of immersive basslines transforming into huge amounts of dancefloor euphoria.

Out of print as a stand-alone release for decades since its original 1974 issue. Produced by George Harrison, Shankar Family & Friends is an almost-forgotten masterwork – an emotional and sonic pact between two like-minded souls to both advance their spiritually minded bond and unite musical styles, cultures, and sounds in wondrous fashion Contributions from Ringo Starr, David Bromberg, Billy Preston, Nicky Hopkins, Jim Keltner, Klaus Voorman, and a host of virtuosic Indian musicians add to a diverse album that melds Eastern and Western traditions; encompasses jazz, funk, bhajan, Indian, and pop; and represents the spirit and breadth of Harrison's Dark Horse Records imprint.

Memorable contributions from an A-list of American and English musicians — Ringo Starr (drums), David Bromberg (electric guitar), Billy Preston (organ), Nicky Hopkins (piano), Jim Keltner (drums), Klaus Voorman (bass), Robert Margouleff (Moog), Malcolm Cecil (Moog), Tom Scott (saxophone) included — add to the richness of a set that melds Eastern and Western traditions. These “names” mesh with a host of Indian virtuosos — Alla Rakha, Ashish Khan, Kamala Chakravarty, Hariprasad Chaurasia included — who turn Shankar Family & Friends into a journey laced with percussive, string, and vocal components that aren’t soon forgotten.

Throughout, Shankar Family & Friends remains true to its title — a mesmerizing record named to reflect the group participation approach of its creators. The idea started when Shankar told Harrison about a ballet he wrote. The Beatle, who first met Shankar in June 1966 — roughly a year after Harrison became interested in Indian music after overhearing it in a restaurant while filming Help! — immediately was convinced they needed to record it. Harrison’s staunch admiration of Shankar and serious approach to Eastern styles are reflected throughout the album.

Indeed, for Harrison, Shankar Family & Friends marks the culmination of a years-long effort to master the sitar, study Hinduism, and incorporate elements such as drones, unusual chords, and expressive picking into his own songs. The seeds of this unique collaboration can be heard in Beatles works such as “Norwegian Wood,” “Love to You,” and “Within You Without You.” Both musicians were also fresh from performing at the 1971 Concert for Bangladesh shows. Yet Shankar Family & Friends remains entirely unique in each visionary artist’s history — and ultimately, led to a collaborative tour Harrison and Shankar staged across North America.

Encompassing jazz, funk, bhajan, Indian, and pop, Shankar Family & Friends is thematically split into halves. Side One reveals Shankar’s uncanny ear for melody — even when applied to Western forms. The lead-off “I Am Missing You,” the first single ever released by Dark Horse Records and reportedly the first pop composition Shankar completed, underscores his skills as a composer and global ambassador. Beautifully sung across three octaves by his sister-in-law, Lakshmi Shankar, the devotional song features multiple drummers and production that mirrors Phil Spector’s Wall of Sound approach. Harrison plays autoharp and guitar; Starr sits in on drums; Scott handles flute and soprano saxophone. It’s the inviting start of a musical adventure teeming with color, majesty, and mysticism.

A second version of the track — designated with a “(Reprise)” tag — appears minutes later. Unfolding in different ways, it follows a folk ballad structure stitched together with Indian instrumentation. Here, according to Shankar, the musicians “attempted to convey the sounds and atmosphere of Vrindavan, the ancient holy place where Krishna grew up.” Both renditions speak to the cross-continental fusion that came so naturally to Harrison and Shankar, whose oversight on the side’s other vocal tracks ensures listeners familiar with Western methods gain easy access to the hypnotic allure of his native country’s music.

Nowhere is this more evident than on Dream, Nightmare & Dawn (Music for a Ballet), the side-long piece that served as the genesis for Shankar Family & Friends. Launched with an airy overture and unfolding across three movements, the mostly wordless suite features everything from call-and-response interplay and classical lyricism to uptempo dance figures, stacked rhythms, and intoxicating grooves. Blurring the lines between contemporary and traditional, and Western and Eastern, the inspirational work is the exclamation point on a record that defined “world music” well before the term became co-opted as a catch-all genre.

Whitney Houston’s self-titled debut album has few parallels. Viewed solely through the lens of sales numbers, Whitney Houston is a watershed statement on par with the most commercially successful and culturally dominant LPs ever released. Having sold more than 14 million copies in the U.S. and upwards of 25 million units worldwide, the 1985 LP became the equivalent of the television show or blockbuster film that everyone collectively experiences and discusses. Nearly four decades later, it’s lost none of its appeal or magnetism — and its artistic significance and historical import have only grown.


Sourced from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g SuperVinyl LP of Whitney Houston presents the breakthrough in audiophile sound for the first time. The signature traits Houston exhibits on every song — her three-octave range, radiant warmth, personal conviction, impossibly controlled register — come across with exceptional clarity, focus, and presence. Free of artificial ceilings and constricted dynamics, this reissue plays with an openness, airiness, and balance that put the singer’s once-in-a-lifetime instrument and immortal artistry into proper perspective.

It does the same for the songs’ cascading melodies and captivating arrangements. Individually produced by one of four renowned industry veterans — Kashif, Micheal Masser, Jermaine Jackson, and Narada Michael Walden — each composition feels grander, closer, more genuine. A vocal spectacular, Whitney Houston benefits from the high-end characteristics of SuperVinyl, which include a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces. This is how an album that changed the direction of popular music — opening previously inaccessible doors for Black artists; bringing smooth-singing vocalists back into the mainstream; kickstarting a movement that soon included several “divas” who would command the charts through the early 21st century — should look and sound.

Though Houston’s seemingly effortless performances suggest otherwise, creating the record Rolling Stone ranks as the 257th Greatest Album of All Time wasn’t easy. Nearly 18 months were required to identify songs suitable for a still-unknown singer who did not fit into the conventional frameworks of the mid ‘80s. Confident, powerful, and prodigiously talented, Houston would forge her own parameters with Whitney Houston. In the process, she obliterated the stubborn lines between R&B and pop, Black and white radio. She dared to reimagine who could be a superstar and then went out and defined the role. Recorded for nearly $400,000 and released on Valentine’s Day, the LP exceeded the wildest expectations of those most closely associated with it — save for Houston and her family.

Having made her first public appearance at the age of 11 singing at a Baptist church, Houston understood pressure and knew her way around, inside, and through a song. The invaluable guidance and support she received from her mother, Cissy, an accomplished gospel vocalist who backed Aretha Franklin and Elvis Presley, are on display throughout Whitney Houston. They arrive in the types of authoritativeness, discipline, and diction rare for even most seasoned veterans — and unheard-of for a 21-year-old newcomer. Houston brings a soulful elegance, understated glamour, and in-the-moment rapture to every note. Moving up, down, or staying in the middle of the vocal ladder; channelling softness or sweetness; showing restraint or increasing the volume, she is a marvel of emotionalism, a dynamo who can seamlessly transition from one mood to another within a verse.

Though the 10-track LP largely concerns itself with the ballad tradition, Houston covers the bases, getting into an R&B groove on the fleet “Thinking About You,” turning up the heat on the duet “Take Good Care of My Heart,” and investing the contagious dance-pop confection “How Will I Know” with all the anxiety, hope, energy, and enthusiasm its lyrics demand. Featuring her mom on background vocals and Houston’s pitch-perfect tone, uncanny precision, and skyscraper highs (no AutoTune here, friends), the synth-based anthem propelled Whitney Houston into the stratosphere, the vocalist into regular MTV rotation, and the term “crossover” into popular parlance. The double-platinum single reached No. 1 on the Hot 100, Hot R&B, and Adult Contemporary charts — a trifecta that foreshadowed accomplishments that would ultimately crown Houston as the most-awarded female artist of all time.

Whitney Houston became the first album by a Black female performer to top the Billboard charts. It remained there for 14 non-consecutive weeks en route to claiming the title of the best-selling LP of 1986. It stands as the first debut and first album by a solo female artist to spawn three No. Hits, as well as the first album by a Black female artist to top the year-end charts in Australia and Canada. These are just a handful of the accolades — along with four Grammy nominations — that surround a set that also contains the unforgettable ballad “Saving All My Love,” string-accompanied “Greatest Love of All,” and sensual “You Give Good Love.”

As TIME observed in an article written two years after the album took the world by storm: “This is infectious, can't-sit-down music, and her performance dares the listener not to smile right back.” We’re still smiling.

Circus of Desire is the much anticipated third studio album from Grammy-nominated folk singer-songwriter Olivia Chaney. Worked up over five eventful years, this collection of lovingly wrought songs was recorded in NYC with long-time collaborator, producer and musician Thomas Bartlett (David Byrne, the Magnetic Fields, Sufjan Stevens, The National, St. Vincent, Father John Misty)

Consisting of ten originals and one cover (a revoicing of Dory Previn’s haunting ballad ‘Lady with the Braid’), this album is Olivia set free. Taking their departure from real life experiences, these songs strain towards the universal. The title track blends the carnivalesque and meditations on ancient wisdom with an anthemic, dancy refrain. ‘Calliope’ is a tribute to Olivia’s daughter, named after the Greek muse of music and epic poetry, picturing this little life as part of the ever-revolving cosmos. ‘To the Lighthouse’ tells the story of her sister who left the capital to live on a remote island. Like ‘Mirror, Mirror’ and ‘Why’, a pair of tracks about erotic love, this song reflects upon our capacity to flee and transcend inherited trauma. ‘Zero Sum’ is a setting of a metaphysical number poem by Olivia’s grandfather, a mathematician and poet. ‘I Wish’ - the album closer, is the ultimate breakup song.

Whilst staying true to her folk roots, Olivia enters new musical territories with Circus of Desire, venturing into the realms of pop and dance. The record features cameos from a number of friends, including string arrangements by Nico Muhly and banjo and guitar from Sam Amidon. The result of this rich blend of musical influences is an album that looks honestly, sometimes despairingly, but primarily hopefully at the carnival that is life - ‘we’re in a dance with death, with fire…we’re all in a circus of desire’.

Circus Of Desire by olivia Chaney, released 22 March 2024, includes the following tracks: "Why", "Galop", "Bogeyman", "Mirror, Mirror" and more.

This version of Circus Of Desire comes as a 1xLP.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

ZYX Italo Disco: Best Of is the ultimate new vinyl compilation series for Italo Disco fans worldwide, now entering its 6th edition. Of course, this edition is once again available as a 2LP box set on colored vinyl. Discover 15 unforgettable hits and rarities from the 80s in impeccable sound quality. Den Harrow - Don‘t Break My Heart / Ranko - Happy World / Alan Ross - The Last Wall / Baby‘s Gang - Challenger and many more.

Rock & Roll, indeed. Ruth Brown’s sizzling full-length debut — also known by its eponymous title — symbolizes what was exciting, fresh, invigorating, and raw about the burgeoning style in its halcyon days. Originally released in 1957, and reissued here in audiophile quality for the first time in partnership with Atlantic Records’ 75th anniversary, the set remains a testament to one of the most pioneering and talented vocalists to ever command a stage.

Mastered on Mobile Fidelity Sound Lab's renowned mastering system in California, pressed at RTI, housed in a Stoughton jacket, and strictly limited to 2,000 numbered copies, Mobile Fidelity’s 180g mono LP of Rock & Roll plays with an immediacy, vibrancy, and fullness that showcase the reach, power, and emotionalism of Brown’s voice. The sound of her support musicians — brassy horns, swinging rhythm combos, echoing backing vocalists, rollicking pianists, jaunty guitarists — is made clear and vivid, helping the upbeat fare to jump, juke, and jive with newfound energy and exuberance. In a related manner, Brown’s slower, more understated material crackles with an intimacy and passion that let you know you're in the presence of a woman who has lived what she sings. The longtime Rock and Roll Hall of Fame member deserves nothing less.

In an era dominated by big-throated vocalists, few — if any — came grander than Brown. The singer, whose repeat million-selling ‘50s success with Atlantic Records led many to call the then-indie label “The House That Ruth Built,” charted two dozen R&B hits in the span of a decade for the fledgling imprint. Rightly coined “Miss Rhythm,” the extroverted Brown put Atlantic on the national map, became the best-selling female musician of the ‘50s, and established a precedent that would ultimately lead to Grammy and Tony Awards. Her early works have lost none of their fire or flair.

Akin to many full-length LPs of its era, Rock & Roll doubles as a collection. Its 14 tracks comprise some of the more famous sides Brown recorded for Atlantic, beginning in 1949 with the all-time-great rendition of the ballad “So Long,” and continuing through 1956. After the song caught the public’s ear, the Virginia native briefly became known for her smoldering style with lovelorn material and torch songs, approaching them (see “Oh What a Dream,” “Old Man River”) with a combination of pained sadness and hardened resilience that had no contemporary equal. Encouraged to pursue the style by Atlantic Records co-founder Ahmt Ertegun, her R&B-driven material soon made her a constant chart presence.

Demonstrating what fellow legend Bonnie Raitt deemed “sex with class and dignity,” Brown merges blues and jazz, swing and gospel in electrifying fashion. She dares you not to move, dance, and get on your feet. A majority of Rock & Roll explodes with uptempo runs and jaunty readings of hot-blooded R&B numbers. Sweaty and sultry, bawdy and bold, Brown eclipses the anthemic blare of the saxophones and joyful clatter of the 88s, singing with a slight catch in her voice and hurricane-gale force that threatens to blow the roof off whatever room her voice occupies.

Evidence abounds. Listen to her prod the band and encourage the band members to blow a fuse on a sizzling “Hello Little Boy,” complete with cries and wails; stretch her phrasing to the heavens on the swaying “Wild Wild Young Men,” laden with romp-and-stomp beats; plead and persuade on the snaking “5-10-15 Hours,” which flips the script on the age’s notions of dominance; use her raspy tones, high notes, and breath control to mesmerizing effect on the smash “Mama He Treats Your Daughter Mean,” recorded with a group led by Ray Charles; survey the scene and take charge on the steaming “As Long as I’m Moving”; and tap a classy albeit flirtatious vein on “Lucky Lips,” which dented the pop charts as her first crossover hit.

Throughout Rock & Roll, Brown knows the lyrical connotations and spirited architecture of the songs inside-out. Her assertive voice — never harsh, strident, or false — is the epitome of the passionate desires and sonic strains that turned into nascent rock ’n’ roll. Brown played a pivotal role in helping the style develop, the record a timeless reminder of a lasting legacy that will never be forgotten.

“Though seeing they do not see, though hearing they do not hear or understand.”

NYC-based producer/visual artist Nathaniel Young returns with the sophomore 12” under their techno-focused alias, Guilt Attendant. “A Flower Wilts Under The Heat Of The Son” is cut from the same cloth as 2020’s “Suburban Scum” where Young delves into overtly religious motifs and ideological critique of their cult-like upbringing. Here, though, Young challenges themself and the listener to seek hope and resolve rather than hatred and contempt.

Considering its sometimes-monolithic sound palette, the timeless sub-genre of dub techno has long stood as a versatile vehicle for exploring and expressing a wide range of emotions. From mourning those we’ve lost, to somber reflection, to hope and celebration–all united by warmth, soul, and perhaps most importantly, groove. This versatility has underpinned Young’s affinity for the dub techno framework, and this collection of tracks is the culmination of material that they’ve long aspired to manifest. Atop this foundation, Young explores the place of acceptance and understanding that they’ve ultimately had to reach in relation to their religious upbringing and the inherent dualities that plague dogmatic religious circles and our beloved dance-floor communities alike.

“A Flower Wilts Under The Heat Of The Son” places a heavy emphasis on groove and swing while attempting to stretch the limits of classic dub techno tropes. Through creative melodic layering, swung low-end, and syncopation, these tracks hope to offer a fresh take on the sound while remaining solely devoted to the dancefloor.

Through their design work for Dais Records and Hospital Productions, Young had the pleasure of crossing paths with the recently departed Juan Mendez (Silent Servant), who graciously contributed a striking, cacophonous, and noise-laden remix. Given Mendez’s expansive and diverse body of work, as well as his own affinity for dub techno, Juan’s contribution could not be more harmonious. A singular talent and an extremely kind, generous soul, Juan will be dearly missed.

Rest in peace Juan Mendez, 1977-2024

The Trashmen's defining moment, 1963's "Surfin' Bird," is perhaps the ultimate lightning-in-a-bottle record. Their first true studio recording, it captures the group's interminable energy and mastery of live performance. But it also is the culmination of spirit and experiment that turned it into something new and, from the perspective of 50 years, unique. This collection shows them to be variously a first-rate surf band, a great protopunk outfit, solid rockers with the raw essence of the earliest originators of the sound, and adept enough to work in some comedy and country. This scope of ability and interest is probably the true basis of the band's following now. But "Surfin' Bird" has more tenacity than other bands' entire better-performing catalogs, and with it, the Trashmen created a work that is arguably today the most relevant release from that storied decade.

"Best Of The Trashmen" by Trashmen includes the following tracks: "Tube City", "Sleeper", "Dance Bird Beat", "Bad News" and more.

This version of the album comes White vinyl.

You just moved to the big city, you end up at a party where you don't know anyone and someone walks up to you and asks: "Hey, are you alone here?". That is exactly the feeling that Porcelain id describes on their debut album Bibi:1, short for the Arabic pet name Habibi. Porcelain id is the pseudonym under which Hubert Tuyishime (they/them/their) has been unleashing unique songs since 2020.

The album - inspired by their move from a quiet provincial town to Antwerp - is the soundtrack to walking into city traffic during rush hour and trusting to get out of the chaos in one piece. It is an ode to exciting encounters with complete strangers and to the friends you can come home to afterwards. A story about being a stranger in a city you've romanticized for so long, the rejection that comes with it, and the false nostalgia with which you look back on it all later on.

At first hearing, the completely English-language Bibi:1 may seem like a brusque farewell to the autobiographical intimacy and lo-fi singer-songwriter music on the previously released EPs Mango and Reprise, and especially on songs like Vlaanderen. But to Porcelain id it feels like an organic evolution. One towards more abstraction, experimentation and electronics, but never detached, and still building on the core of Porcelain id.

The new sound is the result of an intense collaboration with producer and partner in crime Youniss Ahamad, who, despite their different musical backgrounds, immediately felt challenged after Porcelain id's legendary elevator pitch: 'I want to make something that is situated between Nick Cave and the Bad Seeds and Yeezus by Kanye West'.

Together they drew the blueprint for Bibi:1 in Youniss' home studio. Track by track, without looking back. A sporadic, but rigid process that added to the intensity of the album. In the studio, the songs were taken to a higher level. The two invited a pack of talented friends and young musicians to the studio to add parts, a stark contrast to the solitary approach of previous EPs. Aram Abgaryan (recording engineer/synths/vocals), Nard Houdmeyers (guitar), Tim Caramin (drums), David Idrisov (bass), Alban Sarens (sax) and Emma Hessels (vocals) came by. Aram Santy was at the controls during the mixing sessions.

The result sounds like the ultimate symbiosis of Porcelain id and Youniss. Lofi, but ambitious. Fragile, but rough. Poppy, but disruptive. Sometimes challenging. Then welcoming again. Sometimes even danceable. Each song forms a small vignette that is part of a diverse, but coherent unity. Adam Coming Home and Low Poly are closest to the melancholy of Porcelain id's earlier work, while Lights! strikes a new path. First single Man Down, on the other hand, is inspired by the Antwerp students who drown every year and sounds like a wandering nightly stroll through the city. For Brilliant, David Idrisov was asked to 'play bass as if Chet Baker were not a trumpet player, but a bass player', a bizarre assignment that he accomplished with verve. And Cellophane flirts with emo trap and was sung with raspberries between the teeth, to simulate the effect of grills.

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

These days we are back again in the 60s, as the world urgently needs a new peace movement.

Therefore we ultimately call everyone to hold their hands together and look into the future, - nothing describes better the message we deeply feel being part of, in the own words of Kito Jempere. For ''Let's Hold Our Hands Together'' he already called up the internationally awarded Swedish composer Adam Evald on vocals and the enigmatic Antoha MC on trumpet, backed by Public Possession artist, Eden Burns and our very own, Leonid Lipelis (check his latest 'Function As A Meaning' EP!!!), on the remix duties, Kito Jempere is the ''DJ's hero'' - selector, producer, own orchestra and band conductor (watch Boiler Room from PPF!), who has been delivering quality dance records through decades via DFA, Lo Recordings, Freerange.

Proclaimed as the ''The King Of Collaborations'' by Zweikommasieben, Kito has been working on music with together with Jimi Tenor, Red Snapper, Hard Ton, New Composers and got remixed by Palms Trax, Andras, Ruf Dug, Black Spuma and many more.

On 6th October, multi BRIT-nominated DJ/producer Joel Corry releases his debut album, ‘Another Friday Night’ via Asylum / Atlantic Records, with the pre-order going live on the 18th August.

To be released on both vinyl & CD, as well as via streaming/download, ‘Another Friday Night’ is a collection of Joel’s most iconic records of the last five years, including breakthrough hit ‘Sorry’, ‘Lonely’, multi-platinum UK #1 single ‘Head & Heart’ ft. MNEK, ‘BED’ w/ RAYE & David Guetta, ‘OUT OUT’ w/ Jax Jones, Charli XCX & Saweetie, plus fresh 2023 cuts like ‘Dance Around It’ with Caity Baser and the anthemic ‘0800 HEAVEN’ with Nathan Dawe & Ella Henderson, ‘Another Friday Night’ toasts a remarkable run of releases that’s seen Joel become one of the UK’s biggest and most impactful dance acts.

“My debut album ‘Another Friday Night’ is the biggest moment of my life”, says Joel Corry. “Everything I have dreamed about and worked so hard for has come together with the release of this record. It has been an incredible journey and I am so proud to have reached this moment in my career. I want the songs to make people feel good and bring happiness to their days, and the album includes everyone’s favourite bangers from over the years, as well as some really exciting new material. This is the ultimate Joel Corry playlist, perfect for Another Friday Night.”

Ahead of the release of ‘Another Friday Night’ on October 6th, Joel has also announced a special headline show at London’s Ministry Of Sound on Friday 29th September – his first London headline date since playing at former 5000-cap venue, Printworks, in autumn 2021.

Fans who pre-order ‘Another Friday Night’ will be granted early pre-sale access to tickets on August 24th, before general sale opens on August 25th

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111

Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.

In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.

In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.

This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!

Limited

Michael Forshaw is a techno, breakbeat and experimental producer and DJ from Blackpool, U.K. who’s known for his mastery of producing gritty, rough ‘n’ tumble techno music where every sound is almost overdriven to the edge of chaotic distortion. He refuses to abide by any rules, playfully smashing his music around like a cat toying with a mouse. He’s the ultimate example of why parents hate techno.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got our Wonk-O-Vision meter turned up to FULL WONK and we’re wearing our spankin’ new, made especially for dancin’ and prancin’, high heels and big boys boots on, because Michael Forshaw ‘& His Dance Floor Disaster Show’ is about to smash into a night club near you.

On this ‘Big Titted Hit’ of a release you’ll learn how to ‘Shake What Your Mama Gave Ya’ in more ways than one as not only have Forshaw’s ‘Amish Numanoids in Space’ trax finally been printed on vinyl, but those Swedish farting wasp keepers TSR and Scotland’s own melodious mental menace Fear-E, along-with the vocal talents of he that should be King, Tunnan, have well-wonked out a pair of the most uncarpeted surface-slippin’ remixes you’ll have a difficult time not to do a group wonkin’ Watusi too. WONK ON.

David Byrne is a modern renaissance man - and that’s not just a cliché. From the heady days as co-founder of the celebrated art new-wave group Talking Heads (1976-88) through his own constantly evolving and innovative solo music career, he has pursued his muse on many different artistic fronts. He’s been the driving force behind a body of work that has been both intellectually daring and commercially successful...and he shows no signs of slowing down decades later. This show, captured on November 28, 2001, came on the heels of his hit single, “Like Humans Do” and the release of the album Look Into The Eyeball, which was another typically eclectic musical stew reflecting a variety of styles and influences, from Philly soul to a D.C. Go-Go inspired groove and his first-ever Spanish composition, “Desconocido Soy.” Critics at the time called it his best work in years, and his performance on the Austin City Limits stage shows why. Joined by Austin’s own eclectic tango ensemble Tosca, Byrne takes us down many different musical roads in his ACL debut. Of course, besides the brilliant songwriter and performer that he is, he’s also an accomplished performance artist, photographer, web journalist, film writer / director, composer of motion picture soundtracks, and founder of his own world music label, Luaka Bop Records. He also has a collection of Grammys, Oscars and Golden Globes on his mantel. His music may be complex and poetic, but he makes no bones about his ultimate intent: “I want to move people to dance and cry at the same time. - Terry Lickona (Producer Austin City Limits)

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The original single from Escape From New York finally gets an official reissue. Originally released in 1983 ‘Save Our Love’ was released a year before ‘Fire in My Heart’ and sets out their highly effective fusion of New Wave, Disco, Italo and Post Punk. Featuring Jaki Graham and D.C Lee on backing vocals, the 12” also includes an instrumental mix and cult classic ‘Slow Beat’ (Dance Mix).

Escape From New York were short lived and disbanded in 1984 following the release of ‘Fire in My Heart’, ultimately buckling under the pressure of commercial expectations for their innovative brand of pop music. Fast forward to 2023 and history has been kind and these singles are now regarded as being pioneering classics.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

Fantastic Twins, the ongoing project of Julienne Dessagne, is a sonic exploration of dual characters born from one distinct perspective. A producer, songwriter, and acclaimed live performer, Dessagne has spent the last decade sculpting a unique world.

On an ambitious new album entitled ‘Two Is Not a Number’, Dessagne immerses herself more fully than ever in the concept that inspired her artist name, exploring the entwined lives and fates of her imaginary twins, their schizophrenic dreams, small dramas, and big tragedies - a metaphor for our own psyche, our inner conflicts, and our relationship to others and otherness. These musings on the psychological, emotional, biological, and metaphysical qualities of Twins are expressed with assured clarity, using a palate of icy deep techno, eerie atmospheric soundtracks, tranced-out dark wave, and synth pop-noir. Whether through airborne dancefloor ascension, diamond hard rhythms, electronic thundercracks, or empathy drenched vocals and the palpable sense of unease, this standout album brings Dessagne’s powerful, affecting art into sharp focus.

I Was First takes listeners to the Fantastic Twins’ origin, a vocal transmission from within a sonic womb, as our protagonists prepare to emerge. Sisters at Odds sees our siblings emerge incongruous and freshly awoken to life’s absurdities in slow-motion. Suspensefully, the percussive heartbeat of Land of Pleasure Hi Fi wrings tension from numerology, blossoming into a scorched industrial ballet, a mirage of multiplicity.

Following the gothic connection of Master & Disciple, Silver Moon Dial incants a trance-like state that captures the physical energy of Dessagne’s live show, as Fantastic Twins take advantage of ‘putting the moon on speed dial.’ Euphoria soon splinters into tragedy with Twins Can’t Love, extracting unexpected melody and melancholy in brittle, IDM tinged electronics, beautifully tangled with Dessagne’s longing intonations.

From Above sees Dessagne’s vocals once again shift into a new form for a haunting interpretation of something approaching a ballad, echoing around a chamber from which the Twins have seemingly disappeared. Ultimately All of This is Resolved, both in title and form, within this album’s cathartic yet uneasy conclusion. Dessagne sends the siblings home at last... But what will we find if we follow?

All Analogue Audiophile 180g Vinyl LP!
Remastered & Cut to Lacquer by Kevin Gray from the Original 1961 Analog Master Tape!

Mastered with the Original Analogue Master Tapes by Kevin Gray at Cohearent Audio!

Impex Records is pleased to announce a new, audiophile HQ-180 LP release of Bud Shank's pivotal 1961 classic, Barefoot Adventure.

Featuring original compositions arranged by Shank for Bruce Brown's surf film of the same name, this is a swinging, hard-driving jazz session by six top-flight musicians at the height of their careers: Bud Shank (alto and baritone), Bob Cooper (tenor), Carmell Jones (trumpet), Dennis Budimir (guitar), Gary Peacock (bass), Shelly Manne (drums).

The original Pacific Jazz recording features excellent sonics and showcases Shank at his most adventurous, playing with an advanced confidence and sophistication.

Remastered and cut to lacquer by Kevin Gray from the original 1961 analogue master tape, this ultimate vinyl edition of Barefoot Adventure will satiate the most demanding audiophile and jazz enthusiast alike!

Rainbow Generator are Australia’s first true experimental electronic music group. Consisting of David Labuschagne AKA Mojo, and Rob Greaves AKA Ras. Starting in the mid-70’s, the pair took it upon themselves to begin exploring the possibilities of the sonic dimension and with an ‘open mind’ began investigating the interface between psyche and sound.

In 1976 David established the ‘Lectric Loo’ studio in Woolloomooloo, Sydney. Known to the ‘heads’ as simply the “Loo”, the 3-story building was owned by the Department of Main Roads, and slated for demolition. So, it was that the entire block became a haven for squatters, and while Mojo had the main 3-story building to himself, the rest of the buildings were taken by a hotch-potch of people that included Anarchists, a Clown School and a collection of other random squatters.

Recording in the ‘Lectric Loo’ provided them the ability to record freely. In 1975 they began to experiment, putting Mojo’s Fender Strat through effects pedals, playing with sounds while manipulating shortwave radio stations and also challenging convention by playing the insides of instruments. By 1976 they had built a kit synthesizer and shortly after purchased a full Roland 100 Synthesiser set-up and were on their way.

In 1978, with little resources, or any form of distribution they released their sole LP ‘Dance of the Spheres’. As Mojo puts it, “we were intent on making music with whatever we could beg, borrow, buy, and liberate. Albeit with scant regard for the rules or conventions or niceties of the game. Ultimately, it was all an act of love, of joy. Not just an adventure; it was a musical odyssey”.

This odyssey continued their exploration of the interface between psyche and sound.
Fusing genres and boundaries, Dance of the Spheres incorporates elements of 70’s psych and folk with spoken-word and of course the emerging sounds of the synthesizer and drum machines. Furthermore, the addition of traditional instruments such as the didgeridoo and the classical Indian instrumentation technique of a Raga add a timeless layer, all seamlessly complementing the other elements and launching the album to another dimension.

Introducing the eagerly awaited second instalment of Fabio's meticulously curated collection of liquid Drum & Bass classics - 'Generation Liquid.'

Fabio, a true legend in the music industry for over three decades, kickstarted his illustrious career as a Pirate Radio DJ in the mid-80s. Throughout the years, he masterfully evolved his style across various musical genres, ranging from Dub and Hip Hop to House, until he ultimately solidified his position as one of the pioneering forces behind Jungle and Drum and Bass. Fate played a remarkable role in Fabio's extraordinary musical journey. Serendipitously, he landed a pivotal spot on the pirate radio station Phase One, all thanks to a connection through a close friend. This opportunity allowed Fabio to showcase his raw talent and hone his early skills. As destiny continued to guide him, Fabio formed a powerful partnership with Grooverider, and together, they soared to fame, headlining numerous major outdoor raves and orbital M25 parties during the late '80s acid house boom. The duo's magnetic presence and innovative sound captivated audiences, setting them apart as trailblazers in the electronic music scene.

As club culture blossomed, Fabio and Grooverider became the distinguished residents at the iconic club night RAGE, hosted at Heaven in the heart of London. Their influence was immense, as they were credited with moulding the early Jungle sound and orchestrating the world's first-ever weekly Jungle night. Fabio's unwavering passion and dedication to music have not only left an indelible mark on the industry but have also inspired countless aspiring artists. His boundless creativity and willingness to push the boundaries continue to shape the ever-evolving landscape of electronic music, solidifying his status as a true pioneer and a living legend.

After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skilful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.

The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.

Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.

The second volume of this immersive exploration into the soulful realm of Drum & Bass is just as indispensable as its predecessor. It boasts a curated collection of rarities, timeless classics, and straight-up anthems from the vibrant liquid D&B scene. Esteemed artists such as DJ Marky, Calibre, Calyx & TeeBee, and dBridge all contribute to what is undeniably becoming a seminal anthology of the subgenre. The track selection and seamless programming are expertly guided by none other than Fabio himself, providing listeners with a nostalgic glimpse into the electrifying atmosphere of being right on the dance-floor at iconic events Speed and Swerve.

Dessa, the rapper, singer, writer, academic, and all-around polymath, who NPR hailed as a “national treasure,” will release her first solo full-length album in five years, Bury the Lede, September 29th, 2023 on Doomtree Records. It’s an eleven-track project of hard-hitting rap verses, big, catchy pop hooks, and a couple melancholic tracks. Dessa (an anthropology and psychology-enthusiast whose 2018 album, Chime, was inspired by neuroscience) conceptualized Bury the Lede as an examination of human nature and mortality. Reflecting on the pleasure-seeking and loss-aversion that define us as a species, the album ultimately endorses a Camus-with-a-lime-twist take on life. “It’s about indulging in a measure of hedonism even as the threat on the horizon mounts … Survival is, at best, indefinite. So maybe get a cocktail with an umbrella in it,” says Dessa.
The new album leans into the light more than past projects–more moments of levity and abandon, more danceable–but it’s still very much a product of Dessa’s lyrical style, writerly and multi-layered, and meticulous.
Executively produced with longtime collaborators and friends Lazerbeak (Doomtree, Lizzo) and Andy Thompson (Taylor Swift, Dan Wilson), Dessa and company’s indie-rock, soul, and Swedish-pop inflected rap on Bury the Lede create an album that’s hard to imagine hearing from anyone else. And, despite the wide range of influences, it’s also one of Dessa’s most cohesive albums to date.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

When South Korean balearic prodigy Mogwaa came to MM Discos with an idea for his rst full-length album, we were a bit surprised.
He said, ‘I want to do an album of bossa tracks with synths, a drum machine and my guitar’. We obviously had to take him up
on that deal.

Fresh from the recent Bandcamp feature on his own brand of danceoor-ready modern boogie, Seungyoung Lee (aka Mogwaa)
arrives back on MM Discos with his - and our - rst full length exercise. With six tracks per side of 80s inuenced synth and bossa
badness, ‘Hazy Dreams’ is an exercise in simplicity, and more proof of the ever-expanding musical horizons of one of the scene’s
most virtuosic instrumentalists.

Pairing a sensitivity to the construction of ambient, funk, bossa and cassette-tape 80s experiments with his own cinematic subtlety,
‘Hazy Dreams’ takes a gentle, minimalistic approach, crafting its own escapist world that oers a welcome diversion from the
steady ow of busy balearica and downtempo.

Opening track ‘Full Bloom’ paints a picture of midsummer at dawn, some clear-skied island where lush vegetation climbs through
hibiscus gardens. ‘Nacimiento’ is an AOR/bossa crossover evoking West Coast yachting in full afternoon, and A3, ‘Soothing’, adds
a touch of wistfulness with reverb-doused guitars over meandering bass motifs.
The easy kick-and-snare combo of ‘Levitation’ sets the scene for a drum machine love aair, unrequited love on the rocks, and
‘Flashback’ plays with short delay trails and o-kilter melodic sequences, where you feel the soft presence of the nebula approaching
at the break of day. Closing out the A-side, ‘Dispatching’ reaches out even further into the imagined cosmos of Mogwaa’s
picture-perfect world, portraying an ambience at dusk, observing, calmy, as pued-up pink clouds melt into the evening canvas.
On the other side, Mogwaa explores quiet corners with ‘Illusions’, a slow meditation on the nature of simple presence, and ‘Echoes
of You’, a stream of subdued brush strokes that crescendo into higher frequencies on gently undulating pads. B3, ‘Moondance’,
ups the tempo and recalls classic Mogwaa with its sideways shue and starry melodic refrain, pivoting through folk-dance
moods and surprising chord changes.
Nearing the end of the album, ‘Footprints’ wades through tall grass in search of altered states, innite and hypnotic, changing
course only to crouch down and study the landscape, and B5, ‘It always comes and goes’, pictures the to-and-fro of jetstreams and
comets in the blinding midday sky. Finally we have the closing credits of ‘Swingin’ that looks o into the horizon, jaunty and exalted,
a guitar-led tribute to an easy-going world, and ultimately mindful of the power of dreams.
We’re humbled to have such a special record for our rst full-length release on the label.

Das neunköpfige australische Spiritual-Jazz-Ensemble Menagerie um Produzent, Songwriter, Gitarrist, DJ und Aufnahmeleiter Lance Ferguson expandiert seinen Sound weiter in das Musikuniversum. Das neue Album 'The Shores Of Infinity' ist ein zukunftsweisender, rhythmuslastiger Ausdruck des zeitgenössischen Jazz, der, tief in der Tradition verwurzelt, sich jeder Genre-Schublade entzieht. Inspiriert sowohl von der Post-Coltrane-Generation der 70er Jahre als auch von der aktuellen New Wave Of Jazz haben Menagerie international große Wellen geschlagen und bei Worldwide FM, Jazz FM und Jazzwise mehrfach ausgezeichnet.

'So well - and lovingly - executed that it's ultimately impossible to ignore.' - Jazzwise

"There is an overarching sense of profound amazement throughout it all.' - Blues & Soul

'A stunning work, full of integrity and class… Essential.' - Echoes

'Wonderful record, full of some great Kamasi/Donald Byrd/even Art Blakey moments!' - The Guardian

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Repress!

Let the celebrations begin, 10 Years of a vision Anané created and called Nulu, her independent label letting the world know about a genre we now know as Afro House, today after many years of dedicated work you'll find it as main stream.

Nulu means 'Nothing Ultimately Leaves Us' and just in time for Winter Music Conference in Miami Nulu presents a special vinyl sampler including 4 tracks representing 'Past, Present & Future' of the labels sound.

Side A includes an elegant and melodic remix of 'Ubatuba (Roots Mix)' by Grammy Award winner Louie Vega & Agev Mungsen feat. Anane, originally produced by Brazilian Soul Crew, where the fusion of Afro House and Soul help to soothe the spirit, followed by the African duo AMRoots aka Filipe Narciso and Fresh Nunas who deliver a fantastic combination of melodies and sounds ready to make dreamers dream with a fresh remix of their original release back in 2009 'Old Times At Barracuda (Cielo Roots 09 Remix)' and was also the first release for Nulu.

Side B includes a superb beat and unmistakable touch of Dj Angelo, bringing you straight to dance floor on a journey you'll wish to never leave and finish this 4 track sampler is the incredible talent of Manoo always setting the contemporary route of Afro House music with his modern style, creativity and authentic sound. The special vinyl sampler will be available exclusively at Winter Music Conference 2019 in Miami, and later for all Nulu followers. Take your time to know the Past, experience the Present and understand the Future of Nulu, a pioneering label of Afro House Music.tti

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

If the ideal greatest hits collection captures the fundamental truth about an artist, Eric Kupper’s – “A Lifetime In Dance Music” highlights an envious catalogue, extraordinary production skills and ultimately reveals a passionate maven of house music.

The 24-track compilation celebrates the vast work and revered career of Eric Kupper and is a collectable occasion to re-acknowledge his influence and golden touch as a remixer for over five decades. This second volume of “A Lifetime In Dance Music” highlights another selection of Kupper’s finest productions and remixes of greats such as Whitney Houston, Earth, Wind and Fire, Curtis Mayfield and Moloko.

Emblematic of an iconic nightlife and reflecting on the sheer scale of his work for seminal artists including Diana Ross, Gloria Gaynor and Donna Summer, this ultimate collection serves as a reminder of Kupper’s astounding blend of studio power, control, and agility as a producer and remixer. As the writing and production partner of the late godfather of house music, Frankie Knuckles, Kupper is a true musician and multi-instrumentalist who has played on, remixed, produced or engineered over 2,000 records spanning a wide range of contemporary musical genres.

An eavesdrop to Kupper’s sophisticated, faultless production style that has amassed an unprecedented catalogue captivates the imagination back to bygone musical decades. His work in the mid-to-late 1980s/early 1990s, especially with Def Mix Productions and remixes for the genre’s superstars Alison Limerick, Ce Ce Peniston, Inner City and Frankie Knuckles is considered to be part of the foundation for house music as it exists today.

Entirely remastered from the original analogue tapes and featuring brand new artwork designed by Luke Insect, this Four Flies reissue finally brings back to life one of the most surprising albums from the strange phenomenon that was the Italian library music of the Seventies.

Gianni Safred's Electronic Designs was released in 1977 on the Milanese label Jump, in their "Music Scene" series, simply as a collection of musical pieces intended for use in television programmes. However, hidden behind a nondescript cover were twelve electronic music tracks revealing a recognizable style of composition; twelve little gems masterly combining experimentation, catchiness and practical functionality thanks to a unified and unique style. Each through a specific mood, these tracks give expression to Safred's distinctive sound, where irresistible mechanical grooves are over-layered with melodic lines perfectly played on a Polymoog or ARP Odyssey.

A native of Trieste, Safred started out with little swing bands soon after WW2, before eventually playing with great soloists like Django Rheinhardt. Ultimately, it is his background as a jazz pianist that makes Electronic Designs so special. As with other Italian jazzmen who got into synthesizers (above all, Piero Umiliani), Safred's blend of complex harmonies and (quasi-) bebop virtuoso flourishes, with its obsessive repetitions and refined tone colours, gives a retro-futuristic quality to this library album, whose electronic music islight-years ahead ofthe 'pop' electronic music of the time and, in many ways, anticipates the best stylistic features of early-Nineties dance music.

Safred best expresses his experimental verve – and does a great job in creating the 'electronic designs' of the title – in "Mystification", "City Problems", "Trapdoor", "Planetarium" and "Poe's Clock", all of which unfold through hypnotic beats and sinusoid or square wave explosions. In other tracks, however, the compositional style is less unconventional, with relaxed yet not banal atmospheres ("Spheres", "Elastic Points", "Sacred Interlude"), as well as flashes of irresistible groove inspired by Herbie Hancock's more pop-oriented work ("Automation Age", "Jazz Motion Study", "Bottom Up"). The album's masterpiece is arguably "Hasty Chant", a detective-funk ride with an unforgettable theme, which manages to pull all of the album's various strands into a cohesive whole – as a side note, the allusive and apt description of the song on the back cover reads: "Things are happening".

Wistful, quietly positive, and a little bit melancholic; ambient artist Umber is set to release kaleidoscopic new album ‘Sometimes that light, that shine, seemed like a pretty nice thing’ on 17th March 2023. Focused on melodies that engage the heart as much as the mind, the album brings his electronic influences to the fore, combining shimmering soundscapes with a throbbing pulse of movement.

Umber, the project of Nottingham based Alex Steward, has been steadily releasing sublime music since 2011. Living in a small town provides Alex with a balance between the peace of rolling green fields and the energy of community. This life on the edge of the countryside comes across in his music, which finds the verve of night life enveloped in organic textures and environments.

Wistful, quietly positive, and a little bit melancholic; ambient artist Umber is set to release kaleidoscopic new album ‘Sometimes that light, that shine, seemed like a pretty nice thing’ on 21st April 2023. Focused on melodies that engage the heart as much as the mind, the album brings his electronic influences to the fore, combining shimmering soundscapes with a throbbing pulse of movement.

Umber, the project of Nottingham based Alex Steward, has been steadily releasing sublime music since 2011. Living in a small town provides Alex with a balance between the peace of rolling green fields and the energy of community. This life on the edge of the countryside comes across in his music, which finds the verve of night life enveloped in organic textures and environments.

Alex draws from his experience as a part time palliative care giver, which has had a significant impact on this record. He says, “Through caring for elderly patients, whose time is in short supply, I have discovered that life needs to be celebrated. Even if it’s just playing a game of Scrabble or the way that the shadows of trees dance on a living room wall on a sunny day; there is beauty everywhere. Sometimes we just need to slow down and look a little harder.”

The evocative track titles stem from phrases Alex has heard or read, with the album’s title taken from Stephen King’s book The Shining. They range from the literal (‘It Is Going To Be Ok’, ‘The Last Perfect Day’) to the oblique (‘Hologram Shut Stability’, ‘Sun House Chant’), bestowing the everydayness of fleeting inputs and thought processes to more conscious mantras.

“I feel that my music taps into a part of who we all are”, says Alex. “I try to create music that will emotionally resonate with the listener. Ultimately the album is about finding hope in the smallest actions, something that can often be overlooked or discarded in a world that doesn’t always make a lot of sense.”

Umber’s ‘Sometimes that light, that shine, seemed like a pretty nice thing’ is set to be released on vinyl and digital formats via California-based label Subtempo on 17th March 2023.

I was lucky enough to release Godflesh 'Love is a dog from Hell' on my old label Pathological many moons ago. I was equally lucky to drop JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash 'Disintegration Dubs' last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favourite releases from him full stop, in an incredible career of riches which he has tirelessly. produced since Napalm Death til today. So again, I’m now totally psyched to drop 'Sewer Bait' on my label PRESSURE. The sixth album from JK Flesh, this album is a Slo-mo, Slo-fi, Sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves.... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of Techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham Techno's underappreciated discography, deep in a warehouse warzone. You don’t have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of 'Sewer Bait'.” – Kevin Martin

On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends ("Giver Taker") and family members ("1978") along with lost selves ("Maker," "Baby No More," "In Your Eyes.") But here, grief yields an opening: a chance for new growth. Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. "1978" and "Maker" both begin as Sufjan Stevens-esque pastoral ballads with Chithambo's mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80's pop and African music Chithambo's Malawi-born parents played around the house) and harmonies by Bowe. "In Your Eyes" starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than the Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably "Maker") grasp not only towards reconciliation between his trans identity and his parents' strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality.

Public Image Ltd. (PiL) will release Hawaii on 7” limited edition vinyl on 31st March. The release follows an incredibly brave and well received performance on The Late Late Show Eurovision Special on Friday 3rd February, in which John Lydon’s heartfelt emotions were visibly on show.

The track is the most personal piece of songwriting and accompanying artwork that Lydon has ever shared. The song is a love letter to John's wife of nearly 5 decades, Nora, who is living with Alzheimer’s. A pensive, personal yet universal love song that will resonate with many, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. “It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most,” John says. “It’s also a message of hope that ultimately love conquers all.” Celebrating their 40-year anniversary in 2018, Public Image Ltd. haven’t been going quite as long as John and Nora, however, the band is widely regarded as one of the most innovative and influential bands of all time.

PiL’s music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums. With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub – Lydon guided the band from their debut album First Issue in 1978 through to 1992’s That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now… in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now… was self-funded by PiL and released on their own label ‘PiL Official’ via Cargo UK Distribution. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be releasing their new album ‘End Of World’ this year. Details to be announced soon…

“Uncharacteristically soul-bearing” - Pitchfork

“a swooning, poignant ballad awash with memories of happier times… He’s remarkably tender as he croons: “Don’t fly too soon / No need to cry, in pain / You are loved.” It’s the vulnerability that is most striking. Lydon’s love for his wife shines through like sunrays breaking through clouds, casting everything in a golden light: “I remember you,” he reassures her. He’s backed by harmonising chants of “aloha”, the Hawaiin term that is both a greeting and a farewell. It’s a message from the heart, overflowing with spirit and compassion. What better word for what Lydon is trying to convey here?” - The Independent

“a beautiful and rueful ballad written by 66-year-old Lydon to his wife Nora, who suffers from Alzheimer’s. It’s a peach of a track: both pensive and personal, it reflects on one of their happiest times together in Hawaii. “Remember me/ I remember you… You are loved,” not-so-Rotten sings over a lush soundscape of gently twanging guitars vaguely reminiscent of Fleetwood Mac’s Albatross.” - Telegraph

The long awaited reissue of one of the bests albums of rare Eastern and psychedelic Jazz by the famous Hungarian guitarist. Carefully remastered by prolific Grammy nominated sound engineer Jessica Thompson. For fans of Grant Green, John Abercrombie, Pat Martino, Joe Pass, Wes Montgomery, Tal Farlow. Ultimate collector’s item for those who are deeply in Jazz and guitar music.

Once again Moar is back with a double single with Funky and Nu Disco atmospheres!
The ultimate weapon for djs who want to set the dance floor on fire.
HOT STUFF !

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

With his Old Skool mini album, Armin van Buuren takes his fans back to where it all started. Paying respects to the producers who basically invented the genre, he shows the power of timeless dance classics such as “Dominator”, “The Ultimate Seduction”, “Pull Over”, “Quadrophonia”, and “88 to Piano”.

Announced via his A State of Trance radio show, this release sees Armin delve back into history and bring favourites from the likes of Human Resource, Speedy J and Quadrophonia up-to-date with modern production twists.

Old Skool is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl.

Four new tracks from Eb Flow mark the latest release from the ever prolific Constant Sound label, as ever providing solid and dependable dancefloor gear that boasts a myriad of different flavours. 'Sunshine' wastes no time setting up a strutting, Van Helden-esque groove and lets it roll, adding a few vaguely nostalgic samples on top. 'Running' has more of a breaks feel, harking back to the days of rave's roots when breaks and acid could sit together naturally rather than in different genre pigeonholes. 'Before' is the most minimal of the four, peppered with frisky garage snares and a subtle but ultimately devastating filter breakdown, while a feelgood gospel-style vocal gives the closer, 'Searching', a lovely optimistic tint. Constant Sound continue to deliver.

Hot off the heels of Official UK no.1 and soundtrack to the first summer after lockdown Afraid To Feel, skyrocketing duo LF SYSTEM satisfy fans' cravings for a powerful disco anthem with follow-up single Hungry (For Love).

Still relishing in the success of Afraid To Feel, the duo have now earned over 150M total global streams, landed Clara Amfo’s ‘Hottest Record’ on BBC Radio 1 and certified Platinum, all before being crowned the Official UK no.1 after rocketing past Beyonce, Harry Styles, Drake, George Ezra and knocking Kate Bush off the no.1 spot.

Remaining there for eight consecutive weeks as the longest running no.1 record of 2022 behind Harry Styles, Afraid To Feel is the longest running dance no.1 in chart history, matching Calvin Harris’ One Kiss and cementing the nation’s appetite for a credible dance smash.

Now set to share a slice of Scotland across the UK with their new release, LF SYSTEM will host the ultimate pattie parties with pop up raves at independent fast food chains across Edinburgh, Manchester, and London. Meanwhile, later this month LF SYSTEM will give 100 fans a chance to hear Hungry (For Love) for the first time in an exclusive live set at Metropolis Studios with a special vinyl pressing that features Afraid To Feel on the b side, marking the first time the smash hit will be available on vinyl since its release.

For Conor Larkman and Sean Finnigan of LF SYSTEM, their success follows humble beginnings in the Scottish countryside, playing football against each other as teenagers on rival teams and raving at Scotland’s best clubs. They give credit for their dance hits to home village parties, soundtracked by Motown where Sean's Dad would share classic 70s records with them to dig into. Naturally, LF SYSTEM soon dropped disco edits of their own in 2020 including Dancing Cliché, which Danny Howard discovered and played for nine weeks on his BBC R1 show, earning over 4M streams and further plays from Sarah Story and Charlie Hedges.

Since then they have captured the attention of the whole industry and have played a bucket list headline Boiler Room set in Edinburgh, marking a full circle moment for the lads who were previously club residents for its promoters FLY CLUB. Continuing a flourishing tour schedule across the summer, LF SYSTEM graced BBC Radio 1’s Dance Party Weekend in Ibiza, played b2b with Danny Howard at Amnesia and sold out their first headline show at Night Tales in London.

Hungry for their next anthem, LF SYSTEM demonstrates a soaring dexterity of two ambitious producers deep in their creative prime, now whisking up a weapon exuding vibrancy and disco-edged orchestral joy. Sampling Sandy Gang’s bubbly 70s record Hungry and featuring warm sonic textures blended with rousing strings, Hungry (For Love) is set to leave fans drooling for more.

Clear Vinyl

Erased Tapes are immensely proud to announce the reissue of the debut album Recording a Tape the Colour of the Light by Bell Orchestre. To honour the album"s original recordings the album is also seeing its first vinyl repress since it was released in 2005. Originally formed in 1999 whilst studying at university, the first music Bell Orchestre made was live scores for contemporary dance performances. A few years later, the studio sessions for Recording A Tape.. took place simultaneously in the same studio as when Arcade Fire were recording their eponymous debut album Funeral. The two Montreal-based bands took turns to record their albums but due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as band members Parry and Sarah Neufeld quickly became occupied with Arcade Fire"s busy touring schedule. "The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn"t have anyone to pay attention to it" Parry told Pitchfork in 2005. The album was released to critical acclaim and has since received cult status among fans. Bell Orchestre is a collaborative instrumental group based in Montreal. Its six members come from wildly divergent musical backgrounds, and the unlikely chemistry that results from their collaboration is the very thing that sustains their connection. It"s as if the group as a whole has tapped into a very particular, very distinct energy: like that of an approaching storm. In many ways, Bell Orchestre is the sum of not only its parts, but the sum of its influences and inspirations. Among those influences can be listed such diverse artists as Lee "Scratch" Perry, Arvo Pärt, Charles Mingus, and Talk Talk. But ultimately they work together to create something that none of them has quite heard before. Bell Orchestre has been known to retreat into the woods to make and write music: from a residency at the Banff Centre for the Arts, to the forests of Quebec and Vermont, and back to their hometown of Montreal. The specifics of time and place, the elemental forces at work outside, and those forces that exist inside, all come into play within Bell Orchestre"s musical process. This particular music could be made by no one else at no other time in history. The experience of listening to Bell Orchestre, whether live or recorded, is almost that of experiencing a form of synaesthesia: the result is a collage-like construction of not just sound, but visual elements as well. From a herd of elephants to that approaching storm on the horizon, from a quiet forest in the country to ice forming on a city street, from watching vapour trails disappear in the sky to watching the changing light of dusk through a window. The result then is not so much cinematic as it is evocative: Bell Orchestre have not just written the music to the film - they have created an invisible film that only comes to life in the listening

Black Vinyl

Erased Tapes are immensely proud to announce the reissue of the debut album Recording a Tape the Colour of the Light by Bell Orchestre. To honour the album"s original recordings the album is also seeing its first vinyl repress since it was released in 2005. Originally formed in 1999 whilst studying at university, the first music Bell Orchestre made was live scores for contemporary dance performances. A few years later, the studio sessions for Recording A Tape.. took place simultaneously in the same studio as when Arcade Fire were recording their eponymous debut album Funeral. The two Montreal-based bands took turns to record their albums but due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as band members Parry and Sarah Neufeld quickly became occupied with Arcade Fire"s busy touring schedule. "The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn"t have anyone to pay attention to it" Parry told Pitchfork in 2005. The album was released to critical acclaim and has since received cult status among fans. Bell Orchestre is a collaborative instrumental group based in Montreal. Its six members come from wildly divergent musical backgrounds, and the unlikely chemistry that results from their collaboration is the very thing that sustains their connection. It"s as if the group as a whole has tapped into a very particular, very distinct energy: like that of an approaching storm. In many ways, Bell Orchestre is the sum of not only its parts, but the sum of its influences and inspirations. Among those influences can be listed such diverse artists as Lee "Scratch" Perry, Arvo Pärt, Charles Mingus, and Talk Talk. But ultimately they work together to create something that none of them has quite heard before. Bell Orchestre has been known to retreat into the woods to make and write music: from a residency at the Banff Centre for the Arts, to the forests of Quebec and Vermont, and back to their hometown of Montreal. The specifics of time and place, the elemental forces at work outside, and those forces that exist inside, all come into play within Bell Orchestre"s musical process. This particular music could be made by no one else at no other time in history. The experience of listening to Bell Orchestre, whether live or recorded, is almost that of experiencing a form of synaesthesia: the result is a collage-like construction of not just sound, but visual elements as well. From a herd of elephants to that approaching storm on the horizon, from a quiet forest in the country to ice forming on a city street, from watching vapour trails disappear in the sky to watching the changing light of dusk through a window. The result then is not so much cinematic as it is evocative: Bell Orchestre have not just written the music to the film - they have created an invisible film that only comes to life in the listening

LP repress on limited green vinyl. This album is in the Scottish album of the year shortlist. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

Last 30 copies in stock now. The album is now in the Scottish album of the year shortlist. LP on very Limited HILL FOG CLEAR vinyl. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. First pressing on “Hill Fog” Colored Clear Vinyl, limited to 500. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time. Tracks: Side A 1. I Can’t Wake You 2. The Merry Dancers On TV 3. Set Aside Some Time 4. Spirits In The Roof Tree 5. Altona Side B 6. Weave of the World 7. One Word Away 8. Little Marble 9. What’s Left To Say 10. WEICHA

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

Soundway’s telescope to forgotten and lesser known musical realms extends to Argentina on a brand new, triple vinyl compilation, Síntesis Moderna: An Alternative Vision Of Argentinian Music 1980-1990.

A digital rewilding of computer and synth powered music, dripping with an impressive variety of influence, from Italo disco, electro-funk, post punk, tango, ambience, jazz-fusion, Afro-folk and techno pop. The record is a cultural document of a musical decade transformed after the lifting of restrictions of English language music post Falklands War, and the end of Argentina’s military dictatorship.

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

This show, captured on November 28, 2001, came on the heels of his hit
single, Like Humans Do and the release of the album Look Into The
Eyeball, which was another typically eclectic musical stew reflecting a
variety of styles and influences, from Philly soul to a DC Go-Go inspired
groove and his first-ever Spanish composition, Desconocido Soy
Critics at the time called it his best work in years, and his performance on the
Austin City Limits stage shows why. Joined by Austin's own eclectic tango
ensemble Tosca, Byrne takes us down many different musical roads in his ACL
debut.
Of course, besides the brilliant songwriter and performer that he is, he's also an
accomplished performance artist, photographer, web journalist, film writer /
director, composer of motion picture soundtracks, and founder of his own world
music label, Luaka Bop Records.
He also has a collection of Grammys, Oscars and Golden Globes on his mantel.
His music may be complex and poetic, but he makes no bones about his ultimate
intent: I want to move people to dance and cry at the same time."
- Terry Lickona (Producer Austin City Limits ®). 2LP pressed on Red Color Vinyl.

Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.

Eight years of friendship forges strange telepathy.

In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.

Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.

Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”

The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.

According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”

Rare Italo disco pop project Galvanica gets a beautiful re-issue! This is what the label writes about the release; "Galvanica, a voice with unusual qualities, refined, balanced, also high-pitched, sensual, embellished by an orgasmic inspiration with fluid and spaced solo's in hypnotic rhythms that often change scenery. 'Nightlights in Japan': an extraordinary piece of pure and profound creativity where each version seems to have been built apart and where the West meets the East. A splendid interpreter for a truly stunning piece, as fresh and far-sighted as the day it was recorded in Calenzano at Studio Emme by Marzio Benelli with the Yamaha DX7 synth and Linn 9000 drum sequencer that are at the base of the piece, made and re-interpreted in the four original versions, all sung in the Eastern Asian pentatonic scale. 'Nightlights in Japan' was also written by Massimiliano Orfei, at the time collaborator in the advertising projects from label Smash One Music of Pino Toma, the producer who drew new inspiration to venture into the record market which in 1987 became every day more difficult and this song was considered out of fashion, even if each version of this song was expertly arranged by the talented Giorgio Costantini. We've clarified as to whom Galvanica's velopendulus belongs, in order to be able to rightly consider this artist as a contributive voice of disco music, despite being part of the "second wave" of the Italo-Disco scene, has strongly contributed to it as Otero, Belen Thomas, Angelby and previously with the disco-project Plustwo creating 'Melody' (which after 40 years gets a new extraordinary success with over 134 million plays on TikTok and around 18 million streaming). However, it's clear as day that the gorgeous artist behind Galvanica was Antonella Bianchi and that Giorgio Costantini was not only her producer and composer - as in 1985 for 'I Know', a sweet synth-pop ballad sung with her stage name 'Angel', but above all her ... 'guardian angel'. For many artists using a stage name is a custom. The absolute record of pseudonyms as a true equalizer of identity is held by Stendhal having used 350 throughout his career. This multifaceted artist who, until now has never used so many 'a.k.a.', in a wonderful game of musical mirrors, has represented an opportunity to challenge the market, a trait of non-acceptance of the role that the discography attributes to certain artists. So also Galvanica was an invitation to reflect, with a pinch of provocation, a behavior that Antonella Bianchi has in the DNA of her family. Ultimately, Best Record is not at all worried about the modernization that surrounds it, sure that 'Nightlights in Japan' will be one of the most coveted vinyl reissues in the second half of 2022.

If the ideal greatest hits collection captures the fundamental truth about an artist, Eric Kupper’s – 'A Lifetime In Dance Music' highlights an envious catalogue, extraordinary production skills and ultimately reveals a passionate maven of house music.

The 24-track compilation celebrates the vast work and revered career of Eric Kupper and is a collectable occasion to re-acknowledge his influence and golden touch as a remixer for over five decades.

Within this first volume you’ll find signature and standout remixes for all-time greats such as Diana Ross, Depeche Mode and Degrees of Motion alongside Kupper classics both new and old under his own name and the legendary K-Scope alias.

'A Lifetime In Dance Music' will be available across three separate vinyl and digital release packages including a full collectors CD release in 2023.

Emblematic of an iconic nightlife and reflecting on the sheer scale of his work for seminal artists including Curtis Mayfield, Diana Ross, Earth Wind & Fire, Gloria Gaynor and Donna Summer, this ultimate collection serves as a reminder of Kupper’s astounding blend of studio power, control, and agility as a producer and remixer. As the writing and production partner of the late godfather of house music, Frankie Knuckles, Kupper is a true musician and multi-instrumentalist who has played on, remixed, produced or engineered over 2,000 records spanning a wide range of contemporary musical genres.

Having worked on over 100 Billboard #1 ‘Dance’ records and mixed two records that have received the ‘Dance Record of the Year’ Grammy award, it is safe to say Eric Kupper’s hugely successful career underpins house music.

Collapso Calypso is the long-awaited third album from dreampop artist Chorusgirl. Initially planned for release in 2020, but the pandemic and a nervous breakdown brought everything to a screeching halt. It took Silvi Wersing - aka Chorusgirl - the rest of 2020 and 2021 to rebuild her life and reconsider everything, including her music and the band. She decided to relocate from London to her small hometown in Germany, to become a carer for her increasingly ill father and to take Chorusgirl back to its roots as a solo project, just like in 2014. She revisited old demos and wrote a few more songs, and steadily worked to complete the album as an anchor at a time of turmoil. With the album charting her progress back to health, she decided to call it Collapso Calypso, a riff on taking her despair for a dance. The album includes a multitude of references from music and film and features Silvi's trademark self-reflective lyrics on the themes of coming through a crisis, grief, resilience, and ultimately letting go, or the inability thereof, all set to the sounds of 60s girl groups and her favourite bands from the 80s. The release follows on from 2018 album Shimmer and Spin (Reckless Yes) and the self-titled 2015 debut (Fortuna Pop). “Chorusgirl pertain to a certain kind of cold, detached dreaminess you’d associate with a label like 4AD in its prime: their overall sound being seemingly informed by Lush’s successful hybrid of classic pop, fiery punk and shimmering soundscapes. … Yet, rather than reliving a sound there’s a sense here that Chorusgirl are more intent on reinventing it. Look no further than their debut self-titled LP for conviction.” (8/10) Line of Best Fit “Chorusgirl’s sound is distinctly London (although, more the London of the 80s than of now) but it’s also the sound of escaping London. (…) It’s the feeling of sleeping with the bedroom window open for the first time in months and waking up with a fresh wafting across your face.” Noisey “Chorusgirl explore universal themes with the catchiest of tunes, thundering rhythms, a wry sense of self and fascinating multi-meaning lyrics.” (8/10) Louder Than War “There’s no slack on the album – from the starting gate to the finish line, Chorusgirl bristle with static and nerves.” … Chorusgirl are simple, until they’re not. You might recognise the distant spirits, the razor chords, the surfy snarls. But where other bands coast on borrowed sound, Wersing bends it to her own life, creating a space that resonates with insight and empathy. Ever felt separate from the human race? Be comforted, for here is your kind.” (7/10) Drowned In Sound This is a record with teeth… one of the most impressive first albums of a year rich in strong debuts.” (5/5) NARC Magazine “Sparkling with bright rhythms and jangling pop…with hints of something shadier, bittersweet and more potent.” London In Stereo “Lovingly smudged guitars” (7/10) Loud & Quiet

GoaTekk is a mind blowing blend of sharp breakbeat rhythms and flying Goa Trance feeling with a huge blow of Acid influence. On this 5 dancefloor killer tracks plate you will find the diverse palette of mutating genres. The opener ‘deleting_your_data313’ is a tribute to Techstep domination times: gated Reese bass with evolving trance pads goes together on the basement of classic break. Next comes the ‘digital_trance’ stomper - rolling 101 baseline, huge 4x4 kick served with 303 acidline and vocal stabs in breaks. The second side starter - minimalistic ‘primal_code’ utilizes fast 808 drum pattern alongside with ripping roaring acid lead which conquer all frequency spectrum. B2 ‘hyperplane’ is a heavy mid tempo Electro tune with long tailed pitfall and flangy 101 bass. The closing one, ‘poison_bit’ creates a dreamy soundscape where fast 160pbm Juke drum pattern interflow with gated Goa pads and melancholic 101 arpeggios. The ultimate seduction....

GRAMMY-winning global superstar Kelly Clarkson has released When Christmas Comes Around…, her ninth studio album via Atlantic Records. The 15-track collection sees Clarkson reunite with long time collaborators Jason Halbert, Jesse Shatkin and more for a mix of new original songs and Christmas classics.

The album features a mix of new original songs and Christmas classics, alongside show-stopping collaborations with Ariana Grande (“Santa, Can’t You Hear Me”), Chris Stapleton (“Glow”) & Brett Eldredge (2020’s hit single “Under The Mistletoe”). When Christmas Comes Around… marks the latest album from Clarkson since 2017’s Meaning of Life and her second holiday offering following 2013’s Wrapped In Red.

Kelly Clarkson is among the most popular artists of this era with total worldwide sales of more than 25 million albums and 40 million singles. The Texas-born singer-songwriter first came to fame in 2002 as the winner of the inaugural season of American Idol. Clarkson’s debut single, “A Moment Like This,” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best-selling single in the U.S. Further, Clarkson is one of pop’s top singles artists, with 19 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favourites as “Miss Independent” and “Because of You.” Clarkson has released eight studio albums (Thankful, Breakaway, My December, All I Ever Wanted, Stronger, Wrapped In Red, Piece By Piece, Meaning of Life), one greatest hits album, and two children’s books (New York Times Top 10 best seller River Rose and the Magical Lullaby and the follow up River Rose and the Magical Christmas). She is the recipient of an array of awards including three GRAMMY Awards, four American Music Awards, three MTV Video Music Awards, two Academy of Country Music Awards, two American Country Awards, one Country Music Association Award, and two Daytime Emmy Awards. She is also the first artist to top each of Billboard’s pop, adult contemporary, country and dance charts.

Shall Not Fade family member Tuff Trax is joined by fellow Melbourner Cold Past on an upbeat 5-tracker focusing on danceability and ultimately: fun. Fluffs EP is full of bubbly melodies, anthemic piano stabs and, at times, rolling timpani drums that add another layer of depth.

For the next instalment in our split series, we handed the reins over to two producers whose work has kept us continually inspired over the last few years. At the helm of the A-side, Berlin big-room havoc-wreaker AMOTIK puts on the burners right away with two riotous jams that scream nothing but sonic aggression. On the flip, the mysterious, genre-unbound Janice sweeps us into his psychedelic, non-formulaic techno mindset. True to AMOTIK's minutely balanced, well-integrated blends of punishing kick drums and sunken harmonics, metronomic destroyer "Narangi" swings the pendulum sharp and clean, from deep down a thick sludge of reverb-soaked, FX-topped percussive armada to bleeps n' bloops barrage fire, whereas quake-inducing tides of 909 thunder hail down upon the dance floor with unrelenting frenzy. The dusty bone-bruiser "Hara" picks up the torch and it's in no calmer mood. A slowed-down, breaks-loaded churner, this one relies on a fine engineering of lo-freq moves and pure hardware-processed filth to establish a murky motel, cinematic narrative of sorts. Up with the fracturing wares, here's Janice rocking the flip upside down with the aptly-titled "Mass Formation Hypnosis". Doing what's written on the tin, the faceless producer rushes us headfirst into the boiler for a thorough, unfaltering brainwash. Smelling of leather, grease and coal, this one's bristling with a delectably rugged palette of unambiguous electronics: an ultimate shelling of chest-rattling drum work, in-your-face bass uppercuts, trumpeting stabs and menacingly altered vox. The final salvo, "Names and Excuses", tops it all off on an ominously droney tip, flinging us right away into the frothing mouth of a deadly machine giant, hurtling and tumbling down mazy bowels of washed-out ambient techno via rhyzomatic gutters of brooding abstract motifs and no-frills heavyweight pound. Hectic. ''XVII'' comes adorned with a duly outstanding frame to shine, and will be pressed on 180g audiophile quality vinyl. Once again a way for RYC to openly declare its aspirations and goals, in letting people know that quality, passion and love for the music is all that matters.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Our second sound-clash instalment sees Panix lock heads with Dj Snowy Buffet.

Based out of South London, Panix made a name for himself in the dubstep scene, before emerging as one of the most exciting producers of UKG and breaks.

The A1, "Premium Dubz" combines moody bass-lines with ravey stabs to make the ultimate 2-step dance floor killer. The A2, "Hefty" does exactly what it says on the tin.. Hefty basslines and squeaky clean 4 to the floor drums.

Dj Snowy Buffet is another veteran of the dubstep game, producing under the well known WZ. Surfacing as his new alias, the Czechoslovakian producer shows depth to his game with a bouncy UKG sound.

The B1, "Can I Tell" provides skippy garage drums and synths certain to light up any set. The B2, "Club Life" showcases the darker side of UKG, with warping basslines and amen breaks.

Global techno titan Josh Wink returns to his own Ovum Recordings for big new single 'Balls Back', which comes with a remix from Marco Faraone. Philly-born DJ, legendary producer and the man behind many of techno's most iconic cuts, Josh Wink remains as prominent now as he did a quarter of a century ago. That is because of the constant sense of innovation in all he does, as well as his rare understanding of dance floor dynamics and mastery of his studio. Says Josh of his latest track, “Every time I play this people rush over asking 'what is this track that says “get your balls back”?' Its reaction after playing has been amazing and reassuring that it hits hard, works on the floor, and sticks in people's heads.“ He's not wrong: the powerful 'Balls Back' is a spatial, acid-tinged techno stormer that builds and builds until it ultimately explodes in signature Josh Wink fashion. The 303s are saturated in deep processing along with heavy 909 percussion and a ‘slap-you-in-your-face’ vocal sample that will lead to dance floor devastation. The dub version is a raw, stripped down and faster-paced bass jacker that turns up the heat, and a Balls Tool is also included for dexterous DJ deployment. Italian Marco Faraone is a fellow techno heavyweight and one of the scene’s most versatile producers. He has brought his always impactful sounds to labels like Drumcode, Rekids and Etruria Beat. His remix is typically robust: vast, rolling drums power it along while glitchy percussion peels off the groove and the percussion gets ever more wild and heavy. It's a real main room monster. This is no-nonsense techno that perfectly marries form and function into a dynamite package.