Cerca:us

After just over a year-long hiatus from the Earthly Tapes series – the 3rd Chapter is finally upon us. Offering more mind-altering tracks to the series, we welcome 6 new members to the Earthly Measures familia!

We kick things off with ‘Comets (part I & II)’, the first release by ORSO, the new musical project from Jean Dasso AKA Yeahman, stepping into club and drum music. Alongside faster rhythms, with influences of UK Break music, African dances and traditional instruments, we’re taken through a two-chapter journey led by modular melodic loops, old traditional voices samples and ORSO’s own recordings.

Up next is a trip to Argentina as we welcome Balam to the EM family, join him as he takes you on a daydream across the Latin-American rainforest where synthesizers and nature collide to create the perfect mix, guided by a voice from the deep jungle. ‘Ensueño’ is a dance-floor tool fitting for both the start and end of the night.

Japanese native Mamazu steps up the tempo for the third track ‘Tombi’. Transporting us to a hypnotic and hedonistic state as delightful aerophones sound with the exotic chant, delivering the feeling of a dry breeze from the unseen frontier. Another dance floor ripper!

The B-side starts with ‘Voces’, a track inspired by the music that Chilean artist DJ Raff’s mum listened to when he was a teenager making beats in his bedroom. He used to take her records and tapes to sample and make boom-bap beats. Voces is influenced by both Spanish and Chilean 70’s music, although deconstructed to make an amazingly catchy melody. .

Ditti takes us through an ever-twisting groove as we swim upstream, spot a wave and take off... welcome to ‘Poly Party’. The soundtrack to a carnivalesque funked out ballad on a Polynesian beach shifting between the rhythms of a guitar & riding the surf, cutting synths & dripping flows.

We wrap things up with ‘Small Town Rebellion’, a story told by Scottish producer Kusht – this downtempo chugger reflects the story of a young man in a dead-end town with no future. He needs to break his fate and carve his own path by revolting and manifesting his own destiny.

Limited to 1000 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
The Bluebells have dug deep into their archive to give us the earliest recordings of these tracks, which have never been released before and are exclusive to this 7”
‘Everybody’s Somebody’s Fool’ is longer and more vibrant containing an extra verse and guitar solo which are not on previous versions. This is the closest recording to the one that was originally intended to be released on Postcard in 1981. The sleeve, designed by Bobby Bluebell features 2 of the earliest photos of the band.
THE BLUEBELLS were formed by songwriter / guitarist Robert Hodgens aka Bobby Bluebell in 1980. When deciding to form a group to start performing his songs, Hodgens remembered two punk musicians from Bothwell (brothers Ken and David McCluskey) he had interviewed for his fanzine, 10 Commandments. David (drums/ backing vocals) and Ken (vocals / harmonica) joined Robert and The Bluebells started performing live in and around Glasgow.
The Bluebells were soon involved in the burgeoning scene coalescing around Postcard Records in Glasgow (Orange Juice, Josef K, Go Betweens, Aztec Camera, Jazzateers), and it wasn’t long before The Bluebells were sharing stages throughout the UK with some of the Postcard groups. A single (Everybody’s Somebody’s Fool) was scheduled for release on Postcard, however after appearing on the
front page on Melody Maker and in NME / Sounds etc, major record companies started making serious offers to sign the group. The Bluebells appeared on BBC music program The Old Grey Whistle Test, the first unsigned group to do so, and it wasn’t long after this television appearance that the group signed a major record contract with London Records.
The Bluebells were soon in the studio working on songs for their debut album, with Elvis Costello producing. They were invited to open on UK tours for Haircut 100 and Elvis Costello & The Attractions, and started releasing singles to critical acclaim (Forevermore, Cath, Sugar Bridge). However it was their fourth single I’m Falling (co-written by Robert and Ken) that finally resulted in commercial success, chart success, and appearances on Top of the Pops.
The Bluebells released their debut album, Sisters, in 1984 to further commercial chart success, which was continued when their next single, Young At Heart, gave the group their second big hit single. However, when Young At Heart was reissued
in 1993, it reached number 1 in the chart for a month, making The Bluebells regular fixtures on Top Of The Pops

A surefire Afro-Funk classic, long treasured by collectors across the globe, the fantastic self-titled LP from Ghanaian singing/percussion sensation Sidiku Buari nevertheless remains a criminally hard-to find gem. We're honoured to present the first ever officially licensed vinyl reissue of this undoubted masterpiece. Limited to just 500 copies.

Originally released on RCA in 1975, this is, quite simply, a ridiculous record. This super-rare album boasts an all-star cast of top funk instrumentalists playing alongside Buari as he blends heavy African rhythms with American soul-funk grooves. The arrangements and the playing are incredibly tight and the album is stacked with killer tracks including "Advice From Father" (sampled brilliantly by Kenny Dope) and "Ku Ka Maria", with its intense, neck-snapping breaks and funky drumming from legend Bernard 'Pretty' Purdie. Purdie is in the pocket for the entirety of this stunning LP - the drumming is just straight out of hand; so varied yet so precise.

It's not hard to fathom why these tracks have always been huge on the b-boy/breaking scene. Other standouts include the wonderful disco-tinged afro monsters "Karam Bani" and "Iro Le Pa" plus the cool laidback groove of "Them Yebtheyet".

With access to the original analogue tape transfers, Simon Francis' stellar mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

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Extraordinary musical talent returns with a deeply textured third outing on Blu Mar Ten Music.

Having made serious waves with the release of his debut album "Coeur Calme" in 2014 and the incredible 2016 follow up album "Zawadi", Kimyan Law steers his sound in a darker, more introspective direction with the twelve heavily themed set-pieces of his new album, "Yonda".

The album title, "Yonda", homophonically flits between a location in Kimyan Law's native Congo and definitions of something situated at a distance but still visible, foreshadowing the artist's move away from his typical uplifting palette into less playful territory.

While previous work seemed to be a personal exploration of joy-tinged melancholy, "Yonda", feels much more sober and pensive, infected with external events. In conversation with Kimyan Law the artist described one piece ("Krieg") as his "portrait of war", with the music moving through phases of violence, silence, panic, redemption and peace. Ever the allegorist, Kimyan Law relates themes of conflict and war not just to obvious geopolitics but also to his own physical struggles, and even an obsessive battle with the music itself, ("Yonda" has been more than three years in the making). In 2017 the artist wrote, "I've reached a point where I couldn't sleep because it bothered me so much... I have found myself unable to make any music except for Krieg".

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, incorporating ever more outlandish sources of percussion recorded from his natural surroundings and filtered through technology.

"Yonda's opener, "Jaardin", is deceptively gentle, with off-kilter rhythms and pianos providing fertile ground for Elyn's delicate singing before the whole piece careens off into what can only be described as orchestral proto-jungle territory. It soon becomes apparent that this placid introduction is misleading, with subsequent tracks fluctuating between pounding tribal beats ("Arboreal Epitone" / "Kin"), chilling orchestration ("Byo" / "Krieg") and rehabilitated jungle forms ("Seven Ant Foley"). A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements lovingly cloaked over the razor-sharp drum work.

Unusual conceptual themes litter "Yonda"; "Dor Rhythm" is about a Dung Beetle's journey, "Lampion" is about paper lanterns, "Nova" is about plant growth while "Kilele" is a song about peace, featuring Kimyan Law's own vocals in a new language he created himself, conjuring memories of Cocteau Twin's Liz Fraser.

While "Yonda" contains moments of incontestable beauty it can often be a difficult listen, an illustration of an anxious mind yearning for peace. An obsessive and intricate musician, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen. As ever, Kimyan Law has delivered a profoundly serious piece of work that expands the vocabulary of his genre. Despite the darkness saturating the work, a soft light still breaks through the window. It is the east, and Kimyan Law is the sun.

Climate - atmosphere is what we say. Soul with beautiful expression, is what they say in the modern jazz scene in the US. It's a necessary component for good jazz, as well as for swing. But to achieve an organic atmosphere which is therefore vital and alive, a relationship of intentions and views, and a congeniality of thoughts are needed. When Tommasi was in Rome for a few days and had Santucci and Scoppa listen to the latest pieces he had composed, the three musicians ideas, aspirations, and agreement in taste appeared to exist right off the bat, and the idea to do an album together was born almost instantly.

Now, with all things said and done, a certain climate seems to have been achieved, with no lack of a swing enriched with heat and energy. The two horn players, who up until now have played and recorded with a band from Rome, the Modern Jazz gang, have really and fully understood the spirit of the pieces written by Tommasi, and even if it's the first time they have met with the trio of the pianist from Trieste, they demonstrate that they have merged and combined into one, more than anyone had hoped for. The album was recorded by forging ahead and overcoming various obstacles like that of a geographical distance that they were not used to (the horn players reside in Rome, and the others in Turin, Bologna, and Lucca); but now that the project has been achieved rehashing the difficulties that they had to get past in order to finish the piece is no longer important (and nor is it well wished for).

Emerging Isle of Wight four-piece Coach Party have today shared their new single and video ‘Everybody Hates Me’ via Chess Club Records. The band have also announced a brand new EP After Party - featuring ‘Everybody Hates Me’ and previous single ‘Can’t Talk, Won’t’, which received rapturous support from the likes of BBC Radio 6 Music’s Steve Lamacq, Jack Saunders (who crowned the track a Next Wave) on BBC Radio 1, and Radio X’s John Kennedy.

Written amidst the chaos of 2020, After Party focuses on themes of everyday life and was recorded, produced, and mixed by the band’s own Guy Page. Eastwood explains: “Each song on the After Party EP came quite naturally to us, many of them are about difficult people, whether that be work colleagues, family members, and even ourselves (like in ‘Everybody Hates Me’).

Jacob Gorensteyn is an Israeli saxophonist and producer. Born in the USSR in 1980, his family emigrated to Israel when he was a child, with Jacob picking up the saxophone soon after. A long time member and one of the creative forces behind the well-known Israeli brass band Marsh Dondurma, he co-produced all seven of the band's albums, as well as a solo effort that was released locally in 2006. Over the years Jacob became well known in the Israeli music scene both as a potent multi-genre session player and a mixing engineer and music producer, lending his sound to many recordings over the last 20 years. His main focus in his solo work is funky jazz music, being influenced by soul, R&B and funk music, mostly from the 60s and 70s.

Wooden House is one funky record. It began, as many records did at the time, with a recording session arranged to not feel as useless during the early days of the pandemic, at a time when planned gigs and sessions were falling like dominoes, and most, if not all, working musicians across the globe were in a state of mild shock watching their creative outlets, as well as their livelihoods, crumble away. Jacob assembled a group of friends – all powerhouse musicians, and all some of the most favorite people in the world for him to play with – into a recording studio. Just before the pandemic, Jacob moved away from the city into a little wooden house in a village located in the picturesque Yehuda mountains near Jerusalem. The new location prompted some creative juices in the form of a string of funky tunes, written in his new project studio on the 2nd floor of that very Wooden House. Three of those were the tunes he brought into the studio that day. None of the musicians assembled, including Jacob, knew what the music they came out with would end up sounding like. The music was worked out during the session and then swiftly recorded, all of it live, all of it energetic and groovy. Two more similar sessions followed in the following months, often being rescheduled because of lockdowns. What came out became "Wooden House", a funky, brass-heavy instrumental album, a fun, instant mood improver. Put it on and groove with us.The album was recorded in 2020.

If your inspiration is Herbie Hancock's "Head Hunter", or any of The Meters or The Apples albums – This one is for you.

achyon Audio partner and artist Paradaux brings you the label’s eighth installment TAC008 the Fleeting Glory EP. The four-track release presents some hard-hitting functional and engaging beats with strong support from Los Angeles USA techno powerhouse Drumcell who contributes a scintillating remix of the records title track.

Side A begins with another of Paradaux’s gems in Fleeting Glory (A1). This title track is impeccably orchestrated and strikes a hard-to-find balance between being dancefloor-friendly driving and creative and heady with its synth work.

Drumcell brings his distinct sound and mesmerizing groove to the EP in Fleeting Glory (Drumcell Mutation) (A2). Engaging and unique drum patterns guide the listener through an expansive soundscape that tweaks the ears and pointedly reforms the core elements of the original retaining the strong mood.

Side B Mover (B1) continues the glory immediately with a strong trippy 303-oriented dive into the realm of drum-driven sci-fi techno. Leave no interstellar prisoners.

The last full track on the EP Pulsar (B2) finishes the record with Paradaux's strong and distinct desert techno acid vibe as it envelopes the listener with grimy and building synth work and broken and loopy percussive elements and noise manipulation.

The record is capped off with a vinyl locked groove from the National Aeronautics and Space Administration’s (NASA) audio collection Haquindar (B3) capturing a mission control audio test countdown from the Apollo moon mission’s Capsule Communicator.

Kailus Echo and IGC for life.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

The classic second Big Thief LP originally released in 2017, limited repress at a decent price! Gatefold LP & download code, don’t miss out.

The trails that Brooklyn's Big Thief -- Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums) -- take us down on Capacity, the band's highly anticipated second record out 6/9 on Saddle Creek, are overgrown with the wilderness of pumping souls. After last year's stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo. The album jumps right into lives marked up and nipped in surprisingly swift fashion. They are peopled and unpeopled, spooked and soothed, regenerating back into a state where they can once again be vulnerable. Lenker's songs introduce us to a gallery of multifacted women and deal with the complicated matters of identity — at once dangerous and curious, though never unbelievable. Lenker shows us the gentle side of being ripped open. Tricked into love, done in and then witnessing the second act of pulling oneself back together to prepare for it to all happen again, but this time to a sturdier soul, one who is going to take the punches better than ever before and deal some jabs and roundhouses of their own. The album is thick with raw, un-doctored beauty: most of the songs on Capacity were played for the first time in the studio and were recorded the same day. There is a darker darkness and a lighter light on this album,' Lenker explains. The songs search for a deeper level of self-acceptance, to embrace the world within and without. I think Masterpiece began that process, as a reaction from inside the pain, whereas I feel Capacity examines the pain from the outside.'

"We're a bunch of outsiders who refused to be kept out," says High Pulp drummer Bobby Granfelt. "We've never had an academic approach to jazz-most of us grew up playing in DIY bands-so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place." Indeed, there's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpet?er Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

"Off the back of a triumphant sold out show at London’s O2 Kentish Town Forum, Charlie releases a brand new solo album ‘Hope Is A Drug’. Set to be released on 15th April 2022 and supported by a 15 date UK Nationwide Tour kicking off on the 18th/19th April in London and ending in Dublin on the 29th May, the album will be available on vinyl & CD
Charlie’s fourth solo album Hope Is A Drug marks a significant departure from his earlier songs, being his most personal and heartfelt work to date. The majority of the album was self-produced at Charlie’s own recording studio, built from scratch during the global lockdown. With intimate ballads such as ‘I See You’ and ‘One Of Us’, and more uptempo contemporary pop songs ‘Blameless’ and the radio single ‘All The Best’, the album showcases an artist confidently pushing the boundaries of a remarkable 20 year career. "

2 rare historical recordings (1983 and 1986) originally released as single sides and gathered here for the first time.

"Conductor might be my favourite composition and Life And Death Of Pboc might be my most sincere. Conductor was my first composed piece with no obvious reference points ... Life And Death Of Pboc was the second. These two compositions gave me the title Godfather of Dark Ambient."

Carl Michael von Hausswolff, born in 1956 in Linköping, Sweden, lives and works in Stockholm. Since the end of the 70s, von Hausswolff has worked as a composer using recording technology as his main instrument and as a visual artist using light projections, film/video and still photography as well as other media. He has exhibited at dOCUMENTA (Kassel), the biennials in Venice, Moscow, Liverpool, Istanbul, Sarajevo etc and in Copenhagen, Stockholm, Nicosia, Kaliningrad, Tokyo, London, New York, Philadelphia etc. His music has been played in festivals such as Sonar (Barcelona), CTM (Berlin), L'audible (Paris), el niche Aural (Mexico City), MUTEK, (Montreal) etc. and release works on LP/CD/DL by labels like Erototox (Ashevile), Sub Rosa (Brussels), Touch (London), Pomperipossa (Göteborg) and iDeal (Göteborg). He recently curated the 2nd part the sound-installation FREQ_OUT named freq_wave in co-operation with TBA21-Academy and collaborates with artist Leif Elggren, EVP re-searcher Michael Esposito, composers Hans-Joachim Roedelius, Mark Fell, Jim O'Rourke, author Leslie Winer and as Dark Morph (with Jónsi of Sigur Rós). He has also collaborated with Pan sonic, The Hafler Trio, Freddie Wadling and Erik Pauser (as PHAUSS).

Nothing is explained in the mysteries around us, but some art touches their soul: last year, Justin Tripp, one half of the US-American impro electronic duo Georgia and London-based electronic artist Zaheer Gulamhusein man behind projects like Waswaas and XVARR -joined forces as STRING. Together they went on a virtual vacation and never came back. As the virtual is fully real due to its virtuality, they created a truly authentic aural hardware journey, hauntingly adventurous, calm, and surprising.

Without defining the scope, STRING tumbled through a dark musical zone that stretched to the horizon, letting the sound shape itself while falling discreet into an appealing abstract space. Hovering clockwise shortly above the ground, they formed impossible geometric musical figures - weightless, fluid clouds, made up of relations between asymmetrical elements. Like in nature, their collaborative work avoids identical characteristics. In an expression of respectful admiration, they softly celebrate the irregularities between their specific genetic musical fingerprints, creating eight light binding clouds of dawn. A meditative musical voyage that transports cosmic particles of idealistic Berlin school ambient right into the heart of their electronic machines. All tunes swing calm but constitutive, dancing around synthesized surfaces that form obsessed flaming orbs of fear and hope, of matter and antimatter.

A shared love for hardware and the ethos of improvisation guided STRING into an experimentation, in which each party aligns closely to the core ideas of co-operative, in-the-moment electronic music, tied across the eight tracks in a sequence.

Finding a home with the highly esteemed Hamburg based label V I S, STRING’s debut “Last Index Of...“ will enter the earth in double vinyl and cassette format, plus tripping on at the digital platforms.

The LP is a collaboration between oOoOO & Islamiq Grrrls. The album's title - "Faminine Mystique" - is an allusion to the Betty Friedan book 'Feminine Mystique' that inspired the 2nd wave feminist movement in the US. Freidan said that while society was providing (middle class) women with historically unparalleled material abundance, it failed to allow space for personal growth. A rigid apparatus was keeping women in a narrowly defined social role that all but excluded self-exploration. Pronounced 'Famine in Mystique,'  the LP's name reflects our feeling that, in a similar way, an increasingly powerful set of contemporary social forces are aligning to, on the one hand, provide people with more music & art than we've ever had access to before, yet rigidly limiting the types of music offered to people to sounds that favor a rigid economics first model of clicks & easy consumption over exploration & experimentation.

Faminine Mystique's 13 songs are framed by fragments of lost, forgotten, or discredited 20th century artists & genres: the well crafted guitar solos of 80s metal; jazz guitarist Barney Kessel; the Ashley's Roachclip drum break; Milli Vanilli; a Kool DJ Red Alert radio show barely audible on some bedside clock radio in some blue collar town on the outskirts of Manhattan; A freeform saxophone solo over a 2 minute, feminist juke-punk anthem. The elusively simple but dreamy vocals of a France Gall or Astrud Gilberto. All blended into the compressed sounds of modern pop & RnB.

Analog Africa delves deep into the scene of the Mexican's sonideros (sound-system operators) to present the "Rebajada" movement they've created using locally made pitch controls, speakers and sound effects.

"In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (soundsystem operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here Mexico City but it was Monterrey that popularised it.“

"Half a Klip" is a Vinyl Reissue of Kool G Rap's first solo release It was originally released in 2007: As is to be expected, G Rap fills out the lyrics sheet here with banana clips and stacks of body bags -- certainly not a disappointment (he played a big part in inventing this agenda after all), though the MC's steady, workmanlike approach and topical sameness leaves a lot of responsibility on the shoulders of his producers. t's open to debate as to whether there has ever been a rapper more influential, yet somehow less celebrated, than Kool G Rap. From his seminal work on Marley Marl's Juice Crew productions and Cold Chillin' Records, to the major contributions he gave to the blueprint of gangster storytelling in rap, the Kool Genius has remained relevant and consistent despite heaps of record label drama and the ever-diminishing attention span of the listening public. It's unlikely that the new Chinga Chang Records EP Half A Klip will do much to elevate G Rap's legacy, but there are still shining moments to remind us why the legendary MC is more than deserving of the little reverence he receives.IThus, the EP's best moments come when he is united with a strong hand behind the boards. Marley Marl's sinister keys and kettle drum composition for "With A Bullet" (inexplicably buried at track eight on this 11-track offering) is probably the best canvas for Rap's gangster mentality. DJ Premier contributes a strong track (merely serviceable by Premier standards, but a standout here) and the lesser-known Domingo also seems to be able to give G Rap room to run. Unfortunately, the rest is just middling with one true mistake, Critical Child's dismal "Turn It Out", which sounds like a cast-off from a Jim Jones studio session. In any event, this collection of new and unreleased material is not the next Road to the Riches. On the bright side, the MC behind Road to the Riches is still here (in every sense) and still doing it 20 years later.

KGLW made the colloquially-dubbed 'Timeland' furtively and in semi-secrecy around the time of their 2019 Red Rocks show, and intended it for use as an intermission piece for said three-hour marathon set. Made up of a thoroughly different palette of inspirations to their usual speedy psych-rock, the LP operates in strange surrealist dance music and instrumental beats, oddly peppered by Gizzard's classic nasal vocal twirls and hooks. Guitar rarely features. Now, this weirdo's oddball remains shrouded behind secrecy and conspiracy theories, and as such, will not feature on any DSPs. So get on it while you can, because this cream coloured vinyl version won't be around much longer before the heads snaffle it up. Just in case you vomit at its glory, it comes in and with a brown paper bag.

The underground music scene in Asia has experimented a notorious rise in the last years, Taiwan, Indonesia, Thailand or South Korea are more inside the radar than ever, contributing actively with amazing djs and super talented producers; creating an effervescence subculture where to keep an eye on.
Multifaceted producer Mogwaa is not an stranger anymore, awarded in 2021 with best electronic album of the year in South Korea, his versatility and skills have found a place in labels as "Klasse Records", "Spring Theory" or Sound Metaphors' "Bless You" among others.
We are glad to present one of the most awaited records on MM Discos; “Del Mar” is a bliss of fresh air, a story about all this little things that make us dream everyday. “The Sea” as the main actor of the movie orchested by Mogwaa and supported by crackles, waves and little islands where to get lost in.

"This Is What It Feels Like’ is the latest 12-track project from ethereal singer/songwriter, Gracie Abrams.
Since making her debut with “Mean It” in October 2019, Gracie Abrams has emerged as one of the most compelling songwriters of her generation, earning the admiration of such likeminded artists as Lorde, Billie Eilish, and Olivia Rodrigo. A consummate songwriter who names Joni Mitchell as her most formative influence, she penned her first song at the age of eight, then went on to amass a devoted following on the strength of her emotionally intimate lyrics and DIY sensibilities. She is praised her “painfully honest tales of heartbreak draped in delicate melodies that carry much more intrigue than the usual run-of-the-mill singer-songwriter."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Mid-century Modern music, rich in dynamics and orchestral textures. The Wayne Peterson piece was commissioned and received its performance and recording debut by Dorati's Minneapolis band. Bloch recorded April 17, 1960; Peterson recorded April 21, 1959. Both recordings were made in Northrop Auditorium, Minneapolis MN, using three Schoeps M201 microphones."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Originally released in 1964, this first LP of Starker's legendary Bach Suites recordings for Mercury met immediate acclaim and encouraged Starker and the recording team to wax the other four Suites. All six Suites were released together in a 1966 box set. Recorded April 15 and 17, 1963, in Fine Recording Ballroom Studio A, New York City, using three Schoeps M201 microphones.."

Mats Gustafsson - tenor saxophone, fluteophone, flute, junk Jim O'Rourke - guitar, accordeon, junk A collection of improvised duets with guitarist Jim O'Rourke and reedist Mats Gustafsson. All of the material has been newly remastered for release on 2xLP& digital and marks the first ever vinyl pressing with previously unreleased tracks. Tracks A1, B3(excerpt), C1, C2 and D3(excerpt) were in parts or in its complete form released on Incus CD38 (1999) with a different mix and master. All other tracks are unreleased. Mastered in 2021 by Jim O'Rourke. Dedicated to Derek Bailey. CREDITS: Recording:1999 by Jeremy Lemos at ACME Studios, Chicago Production:Will & Siegmund Mix:1999 by Jeremy Lemos at ACME Studios, Chicago Re-Mastering:2021 by Jim O'Rourke at Steamroom Artwork:Hanns Schimansky

180gr./Insert/First Time On Vinyl/Prod. By Rick Rubin

Minneapolis-based metal band American Head Charge released The War Of Art in 2001. The album was released on Rick Rubin’s American Recordings and was produced by Rubin himself at his infamous Houdini Mansion. He worked alongside Cameron Heacock and bassist Chad Hanks, who co-produced the album. The War Of Art features the single “Just So You Know” and includes the popular tracks “A Violent Reaction” and “Seamless”. Critics praised the album by its power and intensity. After its release, American Head Charge went on tour with Ozzy Osbourne and Slayer and played in support of Slipknot amongst others.

The War OfArt is available on vinyl for the very first time and
includes an insert with lyrics.

Swedish sibling-duo Trummor & Orgel returns with new album Longevity – an album which clearly displays the two brothers to not be gearing down despite seven full-length prequels

Still energetic, curious and with a large portion of melodic groove they are still mesmerizing us the same way thousands of concert attendees have already had the pleasure to experience over the past one and a half decade. Born from a close- to- telepathic interaction, Longevity leads you through nine tracks underlining the wide musicality we have learnt to expect from the brothers: commencing with the gloomy Astral, followed by the intense beat piece Glow – Flatten the curve could be the soundtrack to your daydreams, and the ending organ ooze of Crystal leaves no-one untouched. The analogue feel is draped in a veil of electronica, but it’s familiarly dynamic, lively and present.

Arre! Arre! is the Swedish punk band that during the last decade have
won multiple awards, been booked to festivals such as Roskilde & SXSW and have gotten hand-picked to open for hardcore legends Refused'

On their new LP, the band have maintained their core inspiration from the 90s Riot Grrrl scene, while at the same time broadening their sound to include a wider range of influences - from post- punk and 60's ballads, to James Brown, to the Spice Girls. As usual, the album has a strong underlying theme throughout - this time of motorbikes and female biker gangs, with the band even going to the extreme of recording local bikers driving around the car park of the Studio Sickan
to sample within the tracks. Combined with the other new production quirks such as ABBA- inspired choirs and galloping percussion, 'We Ride The Universe' has turned into a markedly cohesive and unique album for the band, sure to impress fans both new and old. The album is out on PNKSLM Recordings (ShitKid, Les Big Byrd etc.).

REMASTERED EDITION OF PORCUPINE TREE'S 1995 RELEASE 'THE SKY MOVES SIDEWAYS - 2LP GATEFOLD SLEEVE'."A dreamy, tranquil and heavily atmospheric effort" - Record Collector 'The Sky Moves Sideways' is the third studio album by Porcupine Tree, first released in February 1995

It's the first Porcupine Tree album to be released in the US (albeit with an altered track list), & the first on which Porcupine Tree was a band rather than simply a pseudonym for Steven Wilson.

Regarded by many fans as one of Porcupine Tree's finest releases & a
cornerstone of any Porcupine Tree collection, the album was recorded partly as a Steven Wilson solo project & partly as a full band album, 'The Sky Moves Sideways' is a diverse experimental rock release spanning space rock & progressive rock styles with long guitar led, instrumental sections.

The album is now being re-printed in a gatefold sleeve & presented with Steven Wilson's sonically superb 2017 remasters first heard in the 'Delerium Years' box set. Disc 1 is the original album as conceived for vinyl. Disc 2 includes an alternative version of the title track containing music that was eventually cut from the original album version, as well as different lyrics. It also contains EP tracks
'Stars Die' & 'Moonloop' (the edit presented here is a hybrid which contains all the music from all the previous versions & runs to 22 minutes).

Porcupine Tree are currently gearing up for the release of their new album 'Closure / Continuation', marking another step forward in the incredible journey of the band that began as a solo studio project created by Steven Wilson in the late eighties to a multi grammy nominated act & one of the world's most revered live bands, selling out arenas across the globe & wowing fans with their incredible
performances. TRANSMISSION PRESENTS 'THE SKY MOVES SIDEWAYS' ON GATEFOLD DOUBLE LP

Alga Marghen proudly presents "Water Angels", an LP with previously unreleased tracks by Katalin Ladik, following the monumental "Phonopoetics" from 2019. "Water Angel", the title track, is a side-long work from 1989. It began its life containing a plice of "O Fortuna" from Carl Orff's "Carmina Burana" and was first staged in an artificial fog on a lake at the 1989 Spoleto Festival in Italy. The texts include fragments of her own lyrics mixed with parts from James Joyce and Lewis Carroll in a kind of sonic-textual collage of processed sounds superimposed to environmental field recordings. one can also hear the composer Erno Király, her first husband, playing his self-built instrument called "Zitherphone", a 58-stringed huge engine of sounds assembling five zithers in a single body, with pick-ups placed on some of the strings. The first part of "Water Angel" was used as a starting point for "Three Orphans", another composition juxtaposing electronically modified voice with recordings of folk songs, this time Hungarian. It's a kind of "adaptation of a Hungarian folk ballad", utilizing recordings done in Transylvania in 1940, registered with a wax cylinder phonograph and gathered by Radio Novi Sad. Thanks to the collaboration with Boris Kovac, the sound engineer for this project, the quality of Katalin Ladik's screams, whispers, chants, laughter, giggles is now significantly improved, and in some ways the subtle nuances of her virtuoso interpretation find here their most powerful rendition. Also presented on this record are three and never before issued works created by Katalin Ladik in collaboration with the composer Svetlana Marasch at the electronic studio of Radio Belgrade in 2019, "Electric Bird", "White Bird" and "Ice Bird". combining extended vocal techniques, processing and modular synthesis, these tracks confirm the artist's radical temperaments that helped to define her work during the 60s and 70s, while pushing it further into new territories thus revealing an artist with almost no peer in the experimental landscape today.

Route 1 is the name of Roland Schappert's debut album, on which he has compactly consolidated long-standing experiences and current realisations for the first time. He uses a broad electronic spectrum that seems to meander between different styles and defies all expectations of club causalities or a drift into esoteric corners. All pieces were created June to October 2021. It is Roland Schappert's personal path of sounds that fuses contours from electronic music, pop and classical structures.

FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive - "Bob" by Kapelle So&So feat. Cpt. Yossarian - was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately - which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point we leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bassdrum sound resurges on an old leather suitcase. We are talking of a traditional bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -almost blasphemous- endeavour actually sounds pretty neat and leads to the next big venture: A dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums you will catch yourself singing along Marley's part more than once thereby proving the profound impact of this divine music on our souls and our common musical knowledge. Bob Marley in Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes us on a trip through his conception of this otherwise well known material. Following the tradition of the before mentioned mentors of dub music he uses his mixing desk, a couple of studio effects and whatever odd sounding kids toys to present us with his approach to a musical genre that defined so many styles of music that followed.

The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about reecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” -Wendell Harrison The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

- 2x LP Compilations featuring iconic tracks from the legendary US label Holland-Dozier-Holland (HDH)

- The trio behind HDH helped define the Motown sound and split from the label in 1967

- 20 tracks guaranteed to fill a dancefloor with hits from;.

- Freda Payne's 'Band of Gold', Chairmen of the Board 'Give Me Just A little More Time', The Honey Cone, Parliament, Barrino Brothers and more

- Featuring tracks sampled by Fat Boy Slim, The Avalanches, 2Pac, DJ Shadow

Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”

Electricity was produced by the Grammy Award and Mercury Prize nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.

The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.

Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language which Williams spoke growing up in Nigeria with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channelled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.

Limited Edition - Transparent Blue Vinyl

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.


Press:

Gazza Premiere

House Salad Music Premiere

Madoras Premiere

Music Is 4 Lovers Review

Le Visiteur Review

Hot House Picks

Faith In The Defected Basement - Livestream play


DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

Favorite Recordings presents Dark Is The Color, the first LP by Alan Shearer reissued on vinyl for the first time. Despite being initially composed and produced for the French library label PSI, this rare
and obscure in-demand gem from 1985 sounds retrospectively like a proper album with great coherence and sophistication all along. Indeed, these 11 tracks will delight synthesizers addicts. Expect deeply emotive instrumental compositions, with ingenious analogue sequencing on stimulating chord progressions. The result is a highly retrofuturistic album, sometimes almost anticipating 90's videogames
scores. Just imagine Wally Badarou in a bunker with Talking Heads watching New York 1997 from John Carpenter.
Composed mostly step by step on a Sequential Pro-One synthesizer, Dark Is The Color is the product of the exciting state of mind from the 80's era with new sounds, new tools and new trends on the music spectrum. Influenced by bands like Talking Head or Japan, the sirens of the new wave scene strongly resonate here with Alan Shearer's familiarity and craftmanship with synthesizers.
Back in the days, Alan Shearer aka Frédéric Viger was working for his father’s music label, “Musique Pour L'image”, and their sublabel “PSI”. He started with Marathon Life under his real name before taking the Alan Shearer monitor. These records were produced for radio, TV and cinema industries but as well for companies’ internal communication. They represented a real investment from the label and these catalogues are usually full of amazing music from great artists such as Martial Solal, Vladimir Cosma, Joël Fajerman, Harlem Pop Trotters and even Manu Dibango.
About his musical illustration process, Alan Shearer tells: "Soundtracks are indeed my biggest influences and I'm a real fan of American composers as Jerry Goldsmith or Elmer Bernstein. I've always considered soundtracks as the new classical music or classical music of our century. There is a real state of mind producing music for illustration: you have to stick to the video. You should not tell what the image is saying but accompany what it is saying. You have to find a unique link, people always told me music should not be noticed for itself in a movie, that's what makes it good.”

Twice JUNO-nominated and two-time Polaris Prize listed, Toronto's soul songstress Tanika Charles unveils her album "Papillon de Nuit: The Night Butterfly".

"Papillon de Nuit: The Night Butterfly" is the third studio album from Canadian Soul/R&B powerhouse Tanika Charles and is slated to be released worldwide on Milan-based Record Kicks label on April 08th. Composed and recorded while in and out of lockdowns, "Papillon de Nuit" is an album anchored in growth and maturity. The thematic inspiration came from an unlikely source, a creature that soars after the sun sets, but often goes unnoticed until the light shines on it. It is the "papillon de nuit" to some, but drably referred to as a moth by others, revealing a bias in language alone.

"I always thought it was a strange insect. Once while in Paris, a friend swatted at one and I asked: 'Was that a moth?'. I was told: 'No, that's a papillon de nuit.' I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we've all been going through." Production on "Papillon de Nuit" was helmed by a mixture of old and new collaborators. The Safe Spaceship Records production team, consisting of Scott McCannell (Lydia Persaud, Claire Davis), Ben MacDonald and Chino de Villa (re.verse, Jessie Reyez), produced four songs on the album. The group also assisted as session musicians for songs produced by newcomer Todd "HiFiLo" Pentney (Allison Au Quartet, JUNO Award winner). "The Gumption" contributor Kevin Henkel ("Tell Me Something", "Look At Us Now") returned with three compositions, and old friend Jesse Bear (Sean Kingston, Stan Walker) contributed to one song.

Following the success of "Soul Run" (2016/17) and "The Gumption" (2019), Tanika had found a comfortable pace of releasing albums then hitting the road the following year to bring her show to new markets far and wide. So when things changed for all of us, and plans of touring "The Gumption" properly fell through, there was a realization that getting to work on the next project was the healthiest choice to make.

"I was in some dark places. My energy was stagnant and the only reliable constant was this perpetual uncertainty. I had gone from feeling like I was everywhere to only being in one place. From seeing so many new faces, to only my own, in the mirror, everyday and having to face that. Getting back to work on music allowed me to explore these feelings through the format I know best. And I wanted to make sure that when things were ready to resume, I'd be ready with something new for my audience too."

Tanika, who took part in the writing of most of the album, was also assisted by regular co-writer Robert Bolton ("Soul Run", "Remember to Remember") and accomplished solo performer Tafari Anthony (Priyanka, of RuPaul's Drag Race). Featured guests include the multi-disciplinary artist Khari McClelland and rising Toronto rapper, DijahSB. Both Dakarai Morris-James (Joanna Majoko, BeBe Zahara Benet) and Sean "D/SHON" Henderson ("Love Overdue", Serena Ryder) assisted with vocal arrangements across multiple songs.


"I think this album represents my best work to date. And yet, it also represents me coming to terms with who I am as an artist. For the first time I think I've actually accepted my own voice. I can hear beyond the imperfections, and I realized that when paired with the right music, it can sound pretty good. I still have my doubts and my dark places, but a little less of them."

As we emerge into the Now with a fresh perspective and renewed vigour, Red Laser Records usher in a novel epoch of Manctalo movements for our post-COVID enjoyment.

Entrusting piloting duties to four well decorated RL commandos, the EP serves to remind us all that despite everything that's happened, we can still find solace in red lasers, smoke machines and high-powered strobe lights.

Splitting open the collective dancefloor inertia is Kid Machine's 'Only Machines Allowed'.

A cybernetic b-boy jam straight outta the planet MEGOH circa 4044. Guided by electrified vocoder lines and a plutonium-grade, armoured groove this impenetrable battle rocket should issue the much needed power boost to get your body kinetics firing again when they release the e-barriers to hedonism.

Returning star fleet lieutenant Count Van Delicious has been collecting entities from the outer galaxies since his appearance on RL EP 9 ('Dark Fruit' w/ Senor Chugger).
Here he announces his return with an end-credits epic, an #inabiteveryoneelse theme from this young vet on a pants-off permo-buzz, up-scrolling through technicolored c64 visuals and deploying his now trademark zoopa-arps, euphoric synth stabs and thunderous low end shudder to deadly effect.

Meanwhile, Ste Spandex continues his cybernetic realignment surgery, dissecting a well circulated disco meme and adding voluptuous gender-neutral enhancements that'll be getting the next generation of androids frisky, despite their lack of reproductive organs. Fizzling synths, spherical repetition and a multi-dimensional mix of high voltage rhythms leaving that vocal line permanently downloaded in your memory cloud. No sharing necessary.

Scottish deep space observer Ernesto Harmon provides some cosmic ruggedness to close off our mission. Reinforced & galvanised low-end rhymix coalescing with humanoid synth expression and an infinite, carbon-free energy source keeping momentum plateaued through the morning after the night before. There's no off switch baby!

For astral travellers seeking solace in the new Now, EP12 kindly acts as an upgrade to your possibly dormant dancing system as you stumble out into the new nocturnal environment. Hopefully reminding us that the simple act of moving alongside one another in a pitch black, laser-guided club space hasn't changed that much...

Limited press, with artwork which could be the next top selling NFT, we urge our RL family to bag this collectable chronicle from the Red Laser Corp.

Originally released by Victory Music in 1991, Tin Machine II is the second and final studio album by Tin Machine. After this album and the supporting tour, frontman David Bowie resumed his solo career.

Tin Machine II’s reputation has only increased over the years. Uncut magazine placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling the album “extraordinary”.

As with all Bowie albums, there are plenty of strong tracks here to make this a must have. Opening track “Baby Universal” is pure Bowie. He re-recorded this track in 1996 for his 1997 album Earthling, but the track was not released on the album. It was eventually released in 2020 on the Bowie EP Is it Any Wonder?. The first single “You Belong in Rock n’ Roll” was released ahead of the album and peaked at No. 33 in the UK. The second single “Baby Universal” achieved success on the Modern Rock chart in the USA, where it reached No. 21, and the third and last single “One Shot” became an even bigger hit, reaching No. 3.





RELEASE: 17-7-2020




• 180 GRAM AUDIOPHILE VINYL
• INSERT
• SPECIAL SPOT VARNISHED SLEEVE
• SECOND AND FINAL STUDIO ALBUM BY THE SUPERGROUP TIN MACHINE, ORIGINALLY
RELEASED IN 1991
• TIN MACHINE = DAVID BOWIE, REEVES GABRELS, TONY SALES & HUNT SALES
• LIMITED EDITION OF 5000 INDIVIDUALLY
NUMBERED COPIES ON SILVER COLOURED VINYL

SIDE A
1. Baby Universal
2. One Shot
3. You Belong In Rock N’ Roll
4. If There Is Something
5. Amlapura
6. Betty Wrong

The album’s cover (which was censored for its original USA release!) was created by Edward Bell, who had previously worked with Bowie in making artwork for Scary Monsters. The MOV cover features a spot varnish finish.

Music On Vinyl gives Tin Machine II its first vinyl re-release since the 1991 original, and it’s pressed on coloured vinyl for the very first time. The initial pressing is a limited edition of 5000 individually numbered copies on silver coloured vinyl.

The Melvins’ first ever acoustic collection, featuring 36 songs including classics like ‘Night Goat’, ‘Honey Bucket’ and ‘Billy Fish’, as well as covers of Brainiac, The Rolling Stones and Alice Cooper tracks.

 This newly recorded acoustic collection features a career-spanning collection of songs, from 1987’s ‘Gluey Porch Treatments’ to 2017’s ‘A Walk With Love & Death’ - the entire gamut of the legendary band’s catalogue is represented.

 “I knew I wanted to do something ridiculously big,” explains Buzz Osborne of the band’s first ever acoustic offering. “36 songs reimagined by us acoustically is certainly ridiculous but it works. The magic of the songs is still there regardless of it being acoustic. Since we weren’t touring we had the time to do something of this size. I’m very excited about this record. Dale and Steven did a fantastic job on this. I think it’s a very special record. I can’t
think of anyone else who’s done something like this.”
 The band previewed the impressive offering with the release of ‘Night Goat’.
Dale Crover noted: “I think people will be surprised that we can do an
acoustic version of a song like ‘Night Goat’ without losing any of the
heaviness. We also worked hard on the vocal arrangements. People are
going to freak out!”
 ‘Five Legged Dog’ also features acoustic versions of several rarities from the
influential band’s overflowing discography, including a cover of Redd Kross’
‘Charlie’ (from the limited edition ‘Escape From LA’ single), ‘Outside
Chance,’ a Turtles cover from the ‘Slithering Slaughter’ single and new
interpretations of The Rolling Stones ‘Sway’, Brainiac’s ‘Flypaper’ and Fred
Neil’s ‘Everybody’s Talking’ (popularised by Harry Nilsson). Butthole Surfer
Jeff Pinkus lends his vocals (and banjo) to ‘Don’t Forget to Breathe’ and
‘Everybody’s Talking’.

The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of Rohrer’s solo work and live meetings at select events like Berlin’s Funkhaus and Radialsystem V. As should be the case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise,
seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected places.
Those who have been closely following this relationship will notice a definite sense of continuity between previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos / Rohrer pairings, these four new pieces are defined by a special quality of being many things that once: that is to say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is a testament to the level of thought put into them; you could almost imagining the creators poring over some elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing software.
Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a greater variety of individual sounds than most would bother with. Each track is its own observatory of microgestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all
these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in terms of the exact sectors of the imagination that it activates.
Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications (which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these
curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded).
Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top.?
Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and will maybe prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out the program with the most rhythmically eventful sound set off the five.
What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general