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Vinyl Edition Featuring New Art! Features Guest Verses From Cormega, N.O.R.E., Meyhem Lauren, Freddie Gibbs, And More Plus Guest Production From Alchemist, DJ Premier, Pete Rock, And More. Kool G Rap doesn’t let his legend status stop him from continuing to do what he loves. Last year, the Corona, Queens veteran dropped his ‘Return Of The Don’ album, and in 2018, he’s following up the solid effort with a collaborative album full of heavy hitters behind the boards and on the mic, alongside Rochester native 38 Spesh (aka $pesh), who linked with Griselda Records’ Benny the Butcher earlier this year for the well-received ‘Stabbed & Shot’ album. The album’s tracklisting boasts veteran features like Cormega and NORE, while also brandishing newer school spitters like Freddie Gibbs and Meyhem Lauren, and Griselda Records’ Benny The Butcher. Behind the boards, as mentioned, KGR summoned production akin to MCing prowess. Alchemist heads up “Land Mine” while DJ Premier and Pete Rock lay the beats for two tracks each. Album mainstays Midnite and 38 Spesh handle most of the rest of the production. Overall, the project is a lot of what you’d expect from Kool G Rap: grimy street rhymes full of stories of peril and the beats to match. On “Land Mine,” the duo of 38 Spesh and Ransom provide a rather introspective look-back on their troubled come up while a song like “Flow Gods” reminds everyone that G and his assembly are nothing to be taken lightly when it comes to witty wordplay and velvety smooth bars.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

The Story Itself

On the 12th of April 1961, Yuri Gagarin was launched into orbit for the first and - so they tell us - the last time. Upon returning to Earth, Yuri became a global hero, travelling the world to tell of his adventure.

Secretly, he was plagued by strange hallucinations and a persistent glow around his vision; a cornucopia of colour in a constant corona. In 1964 - following a silent coup by Leonid Brezhnev - Yuri was banned from embarking on further manned missions into space. At first fearing madness, the cosmonaut came to see these apparitions as a signal, an invitation, a welcoming beacon from a distant lighthouse blinking across the cosmic void.

On the 27th of March 1968, aided by trusted friends within the space program, Yuri Gagarin swapped places with another cosmonaut on a secret test flight and was once more blasted into outer space. Knocked unconscious by the extreme velocity of his experimental craft, Yuri awoke a mere 15 minutes later in view not of the rapidly shrinking Earth, but an entirely alien vista; he was elsewhere...

About Tony Neptune

Tony Neptune is a multi-media persona created by the Leeds-based artist and producer Sam Jefferies who, inspired by the narrative and musical legacies of early Detroit techno culture, aims to tell a complete story for the senses through a combination of image, sound and text. Asa member of the DimensionsDJ Directory three years running, some know Jefferies for his notorious DJ sets—whether he’s playing new wave or booty bass; as Tony Neptune or Yuri; solo or alongside Mark ‘Turbo’ Turner in another peak time marathon b2b, it doesn’t take long for crowds to catch on to his deep knowledge of all things riddled with Hi-Tech Funk and Soul. But this isn’t the only storm he’s cooking up: in his visual work, Jefferies uses oil paint to unveil the surreal and celestial adventures of the original cosmonaut and space pioneer, Yuri Gagarin, capturing every aspect of their dream-like surroundings with an eye devoted to detail and depth. This painting lies at the heart of his debut EP, Reflections on a Daring

For the third release on Sofia Strahil Velchev is offering a selection of five diverse tracks, developing the concept of the label: rambling beats and alternative tunings, a feeling that the tracks will fall into pieces any moment. What keeps the compositions together is the artist’s sense of melody and relentless groove. House, Techno, Disco and Electro, twisted through a KiNKy mind.

2020 marks the 30th Anniversary of ‘Bossanova’, the third studio album by Pixies.

The band continued to work with Gil Norton after collaborating to such success on their platinumselling second album ‘Doolittle’; this time choosing to record in Los Angeles over their native Boston
(the track ‘Blown Away’, however, was recorded at the Hansa Tonstudio in Berlin during a European tour in 1989).

Their third album in as many years, 1990 was a particularly fertile time for the band with Kim Deal also having success with The Breeders, who released their debut album ‘Pod’ just a few months prior.

Featuring the singles ‘Allison’ (a tribute to jazz and blues pianist Mose Allison), ‘Dig For Fire’ and ‘Velouria’, plus the first cover to feature on one of their albums, ‘Cecilia Ann’ (originally by The Surftones), ‘Bossanova’ showed a less primal side to the band, with surf and space rock rising to the fore. Lyrically, Black Francis is even more cryptic with a recurring sci-fi theme running throughout, which in turn influenced Vaughan Oliver’s classic planet design for the sleeve.

To celebrate ‘Bossanova’ hitting its third decade, 4AD are releasing a special red vinyl edition with the original 16-page booklet being reinserted, having previously only been available with the initial UK LP pressing.

Avant-garde percussionist, singer, self-taught trumpet player, composer and author,
Edmony Krater, since the late 1970s has been a go to reference for French Caribbean music and all things Gwakasonné.

This Guadelopean great had been somewhat quiet since the mid 80s, however in 2019, after the recording of a live show for Cult Berlin club night, African Acid Is The Future that received a release via The Vinyl Factory, his light was relit.

Prior to this, in 2015, along with Diggers Digest, Paris based Heavenly Sweetness reissued the highly sought after 1988 album, ‘Ti Jan Pou Velo’ and Edmony began to stir up rumours of new material coming.

2018 saw his first foray into new recordings, Heavenly Sweetness released ‘An Ka Sonjé’, a record garnishing praise from Pan African Music, and he now readies his second for the label with, ‘J’ai Traversé La Mer’ (I’ve Crossed The Sea)

Like the hundreds of thousands before him, Edmony Krater also crossed the sea. Pulled from Africa, caught up in the violent and absurd logic of triangular trade. Slaves were forced to America, the Caribbean and Europe, where many descendants have since become famous writers, poets, leaders, athletes and of course, musicians.

Duñe and Crayon have been working together for a few years now. Crayon, discovered by Kitsuné is a close relative of FKJ and Kartell. Duñe, on the other hand, has evolved with the duo Saje.

It was within the Roche Musique family that they met and naturally started working on a joint-EP in 2016, soberly entitled Duñe x Crayon. Both self-taught producers, Crayon and Duñe, former inhabitants of Parisian suburbs located at opposite positions, yet quickly found each other.

For their first album, they lock themselves in their studio day and night, until they choke. It would take them several years - interspersed with a few solo projects - for the two artists to give birth to Hundred Fifty Roses. An album through which they expose themselves, both in production and in writing but also in interpretation. On rhythms sometimes inspired by Anglo-Saxon sensuality, but with a production that is indie enough to infuse more warmth. A groove with a soft pop feel to which Thomas Clairice, former bass player of HER, also contributes. To accompany Duñe, bright voices were invited on six of the album's thirteen tracks : We hear French singer and rapper Ichon‘s velvet voice (whom Crayon also produces) on "Pointless"; Gracy Hopkins brings his soul on "Your fruit". Ph Trigano - another artist who produces Ichon - participates in "PS" along with Swing.
Lossapardo - with whom Crayon had already recorded on his solo projects - close the album with "Slowdiving". On the English side, we discover Jadu Heart, a duet signed on Anchor Point, Mura Masa's label, giving the replica on "Invisible". More than perfection, Hundred Fifty Roses resolutely seeks emotion. The album is the musical result of an open discussion in an intimate context, halfway between the live experience and the digital exercise.

2020 Re-issue of Keith Kenniff's debut album under his Helios moniker. Originally only released on CD in 2004 via Miami based Merck Records, this album of hazy ambient electronica is now presented as a vinyl edition for the first time.

AllMusic Review by Joshua Glazer:

"Those who mistake ambient music for an endless tapestry of unwavering atmosphere, pleasant yet indistinguishable, should be handed as an argument to the contrary this album by a recent signee to Merck's rapidly expanding roster. Through 13 tracks of inarguably pretty music, Keith Kenniff displays the musical equivalent of a genius screen actor, able to send a million moods and messages with the most subtle of facial gestures. The opening pair of songs, "Velius" and "Cullin Hill," point to a blissful treat which sits on just the right side of new age symmetry (particularly given the former's live glistening piano treatment). But only eight beats into "Nine Black Alps," the sensation is irreversibly altered by a single, mournful bass note which rumbles like Hades against the bucolic tone that lead up to it. Unshackled, Kenniff continues to roam, drifting into circular beats on "Two Mark" before wandering off into weightless asphyxiation on "Samsara." He even allows for the organic sound of faint acoustic guitar and piano to join his endless travels, giving a moment of real world clarity at the eye of this hallucinogenic work. Few could get away with a singular ghostly voice transmission without implying a stretch for ideas, but by the time he reaches the song, "Suns That Circling Go," Kenniff is so recognized as an explorer that you cannot be surprised by where he may arrive next."

With the sole exception of Louis Armstrong, Nat "King" Cole was one of therare black artists to enjoy such celebrity in the Forties and Fifties. He began his career as a pianist, forming a trio in 1937 with guitarist Oscar Moore and bassist Wesley Prince, but he was so successful as a singer that he went on to make many recordings as a vocalist.

Capitol, his record label, was quick to capitalize on Nat Cole's velvet tones. The hits came one after another: Straighten Up and Fly Right (1943) sold a million copies, and Nature Boy (1948) and Mona Lisa (1950) sold over three 3 million each. Some of his other (numerous) popular hits can be found on Side B.

Nat Cole's popular songs, however — some were so sentimental they were even slushy — should never conceal his talents as a pianist and musician, which he displayed with the best jazz orchestras around (Side A), his own trio (Side C) or in outings with Latin rhythms (Side D).

His fame earned him his own NBC television show in 1956, while Presidents Truman andKennedy would consult Nat on complex racial issues. He also appeared in some fifty films, and continued to record profusely (at least a hundred of his titles entered the sales charts). Nat "King" Cole deserved his title: not only did he sell over fifty million albums, but he also belongs to those artists who wrote jazz history.

2LP: Gatefold with colored vinyl, Side AB: translucent Purple / Side CD: translucent Green. 12x24 inch fold out insert

Velvet is Adam Lambert's ode to 70's, guitar driven rock and funk music done with a modern twist and accentuated by his distinct and incredible voice. Best known as an international superstar who blew the world away on the eighth season of American Idol. Since then he's gone on to have a fully-fledged solo career, and tour the world with Queen. In addition to his musical achievements, he became the first openly gay artist to chart with a number one album in the US and Canada.

Newcomer Hekla releases her uniquely beautiful debut album for solo theremin and voice Á through Phantom Limb Records - run and curated by former FatCat Records, Thrill Jockey and Royal Albert Hall execs James Vella, Ken Li and Mark Pearse.

A Berlin-residing Icelander, Hekla's sparse, delicate, fractal music exists within these two worlds: dark and magical as Iceland's permanight folklore; and (though beatless) as deeply sonic and intense as Berlin's electronic scene. A long-term scholar of solo theremin, Hekla (shortened from her own name Hekla Magnúsdóttir) uses her instrument as an otherworldly and highly evocative Siren-call. A spectral, wailing, howling, lamenting yearning second-voice that underpins a soft vocal delivery, as if her studio had been haunted with a chorus of ghostly backing singers.

While a handful of reference points share a similar ground to Á - Colleen's interplay of voice and instrumentation; the richly immersive filmscore work of sadly passed fellow Icelander Jóhann Jóhannsson's; 'grandmother of theremin' Clara Rockmore's close relationship with such a singular instrument; Julia Holter's intelligent and classically-aligned songwriting - Hekla's music still exists singularly. A one-off talent, emerging from no particular scene, ascribing to no particular rules.

As a creative tool, the theremin - bizarre, unique, rarely heard - can be expressive, intuitive and highly adaptable. In Hekla's hands, her instrument covers an enormous range, from skittering birdsong of high frequency chirrups and chirps, to grinding, tectonic sub-bass. We are given the throbbing, apocalyptic dread of 'Muddle' and the baroque beauty of traditional Icelandic hymn 'Heyr Himna Smiur' in sequential tracks on the album's a-side. Appropriately, she also writes that the album title - Á - is similarly multifaceted in her native Icelandic: 'a river is an á and also it means ouch like when you hurt yourself, and also when you put something on top of something you put it á (on) something.'

The album was written and self-recorded by Hekla in her home studio in Berlin around her son's daycare schedule. Icelandic super-musician Mr Silla (a part-time múm member) guests on a number of tracks. Tallinn-based engineer Jose Diogo Neves - a stalwart of Icelandic and Portuguese music - mixed and mastered Á.

James Vella formed Phantom Limb in June 2017 after eight years in A&R for FatCat Records. Mark Pearse (formerly head of contemporary music programming at the Royal Albert Hall) and Ken Li (formerly of Thrill Jockey, now of Nettwerk) joined the team shortly after.

Scand resident Steve Allman brings together the fast-paced sounds of Detroit and London electro in his debut EP on EON Records.
A key part of London’s longest running electro night Scand for ten years, the south London producer has played alongside the genre’s most important figures The Advent, Detroit in Effect
and Andrea Parker included - delivering consistently high velocity all vinyl sets. Allman’s approach to the dancefloor comes out in its full majesty here on Brainwave. Driven with analogue bass from the Novation Bass Station 2 that’s central to his studio set up, the EP is an uptempo booty moving selection of tracks. Sonically the EP is an expression of Allman’s ear for fast-paced 90s era Detroit electro and the UK’s rave edged take on the sound calling upon freaky synth work, heavy bass patterns and eerie rave stabs to colour the release. What we hear on Brainwaves across the three original tracks is pacey, buoyant and sub-weighted - a record ready to be played loud when the systems are turned back on. Closest influence and mentor Sync 24 drops a bomb of a remix for the title track Brainwave, weaponising it a step further adding a deadly acid scrawl.

Swiss jazz bliss! We Release Jazz is very, very, VERY happy to present its sixth release (following Ryo Fukui’s Scenery and Mellow Dream, Le Cercle Rouge’s soundtrack by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971) coming straight from its beloved hometown of Geneva. Boillat Thérace Quintet’s self-titled album is available for the first time since its original limited private pressing in 1974 and comes as a vinyl LP as well as a digipack CD* (with 3 never-heard bonus songs). Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard’s “Straight Life”, Keith Jarrett’s “In Your Quiet Place”, and Rahsaan Roland Kirk’s “Sweet Fire”, plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety “1224” is dedicated to Geneva’s public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: “Cenovis”! This is reissued in conjunction with Boillat Thérace Quintet’s My Greatest Love featuring Benny Bailey (1975), also available via We Release Jazz. *The CD version includes 3 bonus tracks (Herbie Hancock, Wayne Shorter, and Claude Engel covers), never released before.

Startisha introduces Naeem as a restlessly creative artist with an impressionistic, genre-bending album. As a complete work, Startisha exemplifies artistic daring and emotional intelligence while exploring new ideas and sounds, and philosophically excavating the artist's histories. Startisha may be loaded with impressive collaborations and left-field sounds, but don't get it twisted_this music comes straight from Naeem's heart, representing the journey he's taken to get to this point as well as what lies in the future for him. Baltimore-hailing Naeem Juwan has spent much of the last decade stretching his creative legs in a variety of ways: he's hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 for New York's Pioneer Works space. Through it all, he's been building the songs that make up Startisha, a record a half-decade in the making that featured Juwan pulling from creative circles all across the U.S. to craft a truly unique document of sound. After studio sessions in Philadelphia and New York, Juwan decamped to Minneapolis and holed up in Justin Vernon's home studio, where Startisha continued to come together with contributions from Vernon, Ryan Olson (Gayngs, Polica), Swamp Dogg, Velvet Negroni, Francis and the Lights, and regular collaborators Amanda Blank and Micah James.

Brooklyn Bridge Music presents the very talented Juliche Hernandez!
Tormento Bridge EP is a well balanced piece of minimal Techno/ House.
Highly recommended!

Lascelle 'Lascelles' Gordon - the driving force behind Vibration Black Finger – astonishes us yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form.

Having earned his chops as founding member of the Brand New Heavies, Campag Velocet and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future.

''Can You See What I'm Trying to Say' is a quote from Marion Brown, the great alto saxophonist' explains Gordon. 'The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen & Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on Law of the Universe) were recorded 25 years ago. 'Only in a Dream' and 'Empty Streets' are the only songs that were recorded live in the studio.'

'I was blown away by the New Life Trio 'Empty Streets' (from 1978) and was fascinated by the vocals' continues Lascelles. 'I always thought it would be great to cover this tune'. Such is the power of this song, it's used to open the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. While not a concept album as such, Lascelles has nonetheless conceived and presented Can You See What I'm Trying to Say to be heard as a complete listening experience, with each track blending into the next, resulting in a seamless expression of music.

Following 'Empty Streets', some instrumental interludes segue into a dimensional drift of beats, space synths, horns and electronics; there's a vocal reprise of 'Acting For Liberation', sung with gusto by Maggie Nichols, and then there's the album's momentous finale, 'Only In A Dream', which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world.

In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital and contemporary as anything he's done before, covering an incredible amount of musical ground in the process.

"WOLF Music" offer up something a little different to their usual tip, enlisting the warm dusty reverberations of four-piece, jazz-not-jazz collective Velour for a 7" of hazy, genre traversing rhythms. Alongside being producer for the Velour project, long-standing member of the WOLF pack Mr. Fries gives his own distinctive house touch to the flip side remix.

Perfectly capturing the new school of jazz, Essen-based Velour crisscross genres drawing on elements from each yet anchoring their roots in the richness of jazz’s deft melodies and percussive touches. Head-nodding down the open road, ‘Pose’ is that undeniably soulful, first swig of summer many tracks strive to be. Morphing into a woozy affair as the sun sets midway through, Velour’s songwriting talent well outstrips their years. Throw WOLF pack member Mr. Fries into the mix, kneading in his signature production style and the freshly baked result straddles the intersection between jazz, broken beat, house and soul.

Fries then takes on remix duties for the flip, maintaining that dusty demeanour yet going for a full frontal Moodymann-esque house interpretation. The smokey jazz bar sax, background hustle and weighty beat make for a summertime heater served straight from
the grill, garnished just right with Mr. Fries own vocals over the top.

Parisian "Geo Balasta" pulls an extra-lucid extra techno from the earth's surface that has allowed him to open for Salut C'est Cool. His unexpected productions, bordering on derision, constitute the DNA of an acidic shiver which finds its sources in Green Velvet, the Horrorist or Gigi d'Agostino and which will soon be released on the 'Johnkôôl Records' label.

Limited to 300 units.

Project founded in Mallorca circa 2015 releasing 'Four Seasons' by the end of that year, it was a digital and musical tribute to nature itself.

Then based in Barcelona on december 2017 came out an EP/Anti titled 'Continental', 41 minutes of pure melancholic weird dreams with crunchy beats.

On may 2019 Diürn presents 'Una Història Hologràfica', one hour of experimental electronic music that expands through downtempo, techno and ambient. The album pushes the sound boundaries further by exploring the consciousness of the unknown.

2x12" Transparent Red & Blue Coloured Vinyl in a double Gatefold.
Limited Pressing of 3000 Editions WORLDWIDE! Please ensure to reserve your requests in advance ... In order to secure stock as this
is ltd. pressing!

Volker.live ’s debut and final release
“My Love Will Set You Free” Final release? We see the question mark popping up over your head. Well yes, these four tracks are a time capsule, a historic cache which takes you back to one hot summer of 2019. When this care-free boy band formed and made it their goal to climb up the world’s stages to play an all-hardware live set & have f.u.n. while doing so. This endeavor went swimmingly. Festival gigs were pocketed and crowds intrigued. The stand-out track of their gigs was always “My Love Will Set You Free”, an acid-house stomper with uplifting, yet melancholic vocals from their friend ÆN.
Friends and neighbors were quick to re-interpret the song and the idea of a record took shape.
Lehult’s Lucky Charmz propels the listener into the void by upping the acidity. Closing in on a playtime of 10 minutes, we’re readily giving up our sense for time and space. Whirring drum hits meet feedbacking tape delay while riding the rock solid bass line.
Erobique liked the song so much, he quickly drew up two versions of his own. His “Disko Mix” oozes that saccharine, danceable magic mélange of days past. Warm keys, hand claps, and Aen’s intimate voice are stirred into an exquisite cocktail. You know that Carsten Meyer would never forget the umbrella on top. He’ll keep the cherry though.
The “Black Velvet Mix” closes the curtains for a slow dance. This is personal, it’s just between you and the song. Sub rosa.
In the meantime, Volker.live decided to follow separate paths of their adventure, but everyone agreed to release these songs into the world. May they serve as a reminder of what can be created out of care-free energy that’s driven by a deep connection to music. Please check out their other musical undertakings as Echoel and Goodmemory.live .

Time Lapse is out May 8th on 180 gram transparent forest green vinyl and compact disc.

A must for fans of artists such as GAS, Explosions in the Sky, or Bioshpere's earlier deep works.

Time Lapse is the 7th proper album from Bradford UK based worriedaboutsatan and third since the project has returned into a solo effort by Gavin Miller. Time Lapse is also the project's first album for North American emotional electronics stable n5MD.

For well over a decade, worriedaboutsatan has effortlessly nurtured a muzzled amalgamation of ambient, techno, and post-rock. The project is a go-to for its adaptation of dark, slow-churning, humanistic techno. Labyrinthine guitars, swelling 303s, and deep pulsing 808s all are utilized in the satan arsenal to realize some of the murkiest forward-moving soundscapes of the last decade. Time Lapse is quintessential worriedaboutsatan, filled with sprawling slow-burn arrangements bathed in velvety reverb tails.

Honey Dijon was asked the remix her “favourite band” Blancmange and choose the magnificent disco oddity, 1983 hit ‘Blind Vision.’ The result is stripped back, bumping houser that sounds as much Green Velvet as it does Talking Heads. Urgent percussion and oscillating synths drive things forward, allowing a full Blancmange vocal to unfold aloft to great effect. Also features the original and sought after extended mix. The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

TRACKLIST A1. Reciclo A2. Se Proteja A3. Redescobrir A4. Rastros Raros A5. Pelo Sim, Pelo N–o B1. Cinzento B2. Nada Existe B3. Posto 9 B4. Só Penso Em Jazz B5. Lugares Distantes INFO Marcos Valle launches in LP the new album "Cinzento" (Deck). The record, due to its minimalist design, with little instrumentation and different grooves, refers to his 1973 "Previs–o do Tempo". "Cinzento" comes with new partnerships such as Moreno Veloso (on the track "Redescobrir"), Bem Gil ("Se Proteja"), Kassin ("Lugares Distantes"), Zélia Duncan ("Rastros Raros") and Domênico Lancelotti ("Pelo Sim, Pelo N–o"), among others. Renowned rapper Emicida collaborates on two songs, sharing vocals with Valle. The partnership between the musicians came about through a suggestion by journalist Marcus Preto. Once the connection was set, Valle went to know better the S–o Paulo-born musician work and sent him a melody. Hence the two prospered the collaboration that culminated, even, with the title track. Produced and arranged by Marcos Valle himself, "Cinzento" was recorded at the Tambor studio (Rio de Janeiro) and hits shelves on vinyl as a Polysom release.

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

Eglo Records are proud to present Fatima's highly anticipated debut album 'Yellow Memories'.

Featuring production work from the likes of Floating Points, Theo Parrish, Oh No, Scoop DeVille, Computer Jay, Knxwledge and more... the velvet toned Swede has truly crafted something special.

Offering a modern take on classic Soul and RnB, the album strikes a beautiful balance of cutting edge, contemporary production, soulful expression, melancholic introspection and vibrant, candy coated melody. An accomplished singer /song-writer with a stunning range, her prowess and versatility are a force not to be reckoned with. As powerful and mesmerising on stage as she is in the studio, Fatima possesses a talent heard all to rarely in todays musical climate.

For no particular reason, there hasn't been that many sister funk 7"
re-issues out on Tramp so far. Therefore we are especially proud to present this amazing double-sider. This is soul music at it's best.

The longtime portuguese dj-producer Dedy Dread lands on DJ's CHOICE label for his first full-on original production. "Don't Wanna Wake Up" kicks off the collaboration with the soulful Hawaiian-born singer Olivia Ruff, a velvety warm r'n'b banger which will certainly tear through the airwaves. On the flip side, a "bikini-dub" version by The Rebel – helped by the sax of Danilo Desideri (Funkallisto) – which will make you wish summer comes sooner rather than later.

The first collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2006, Under The Covers Vol. 1 finds the duo celebrating their mutual love of song writing from the ‘60s across 17 cover versions from the era. Highlights include a fan-favourite version of ‘Different Drum’, ‘Cinnamon Girl’ and ‘Sunday Morning’. Pressed on two heavyweight 180g silver vinyl.

Tucked away in their cover, but never for long, Guts' musical eyebrow wands have once again panicked, this time aggressively marking Africa.

Letting his instrument guide him towards the one he felt was the next signature of his label Pura Vida Sounds, the beatmaker-producer found himself face to face with an old acquaintance: Pat Kalla aka the voice of the Voilaaa Sound System, aka the one with which he crossed the funk on his album Philantropiques and the title "Daddy Sweet".

Convinced to follow him in studio, Pat, accompanied by his Super Mojo celebrates this collaboration by decapsulating La "Canette". Long groove in the mouth, acidic notes of synths and attacks of precise guitars, despite the bitterness of his words, a drink that suits every hour of the day and that strengthens the legs most numb. Heckled by her journey to the bottom of Pat’s musical bag, shaken by the syncopes of the beat, she spreads her funk foam from the very beginning into the A-side furrow.

Bartering the beige trench coat of Commissioner Joss against a colorful toghu, Kalla and his Mojo revisit on the B side the "Requiem Pour Un Con" de Gainsbourg. The martial groove, dark and hypnotic leaves its place to a polyrhythmic afrodisco production, surrounded by a low velocity.
More than a recovery, they are making a real diversion.
A hijacking driven by Pat Kalla and his Super Mojo, with Serge Gainsbourg and Jean Gabin sitting in the back seat like two "Pachas".

(180g LP) On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock.He also takes inspiration from the many Brazilian greats - Caetano Veloso, Arthur Verocai, Hermeto Pascoal, and Azymuth (to name a few) - who he has worked with as an engineer, assistant and producer, in Rio's former RCA studio, Cia dos Tecnicos.

Demon come, demon go.

It’s a 3fer with New Orleans Sonic Terror partners dropping down south dark hop, nem0 with the abstract downtempo, and a piece of filthy sludge from German noise terrorists appended for shock value.

It is hard to think of many 7” singles where both sides are as heavy as this one! "Change The World" & "Try, Try" were released in 1977 by 'Solat', a Dutch-based funk group made up of Surinamese and Dutch-Antillian musicians.

Formed after ex-band members of Reality/Tony And Reality; Eddy Veldman, Franky Douglas, Ivor Mitchell and Glenn Gaddum teamed up with singer Billy Jones, Solat went on to release two singles for Poker records. With it's crossover nature, it pleases disco, funk and modern-soul collectors and DJs alike, plus due to only been released in the Netherlands, the record has now become an extremely sought-after item with a high price tag to match.

Both amazing cuts are aimed straight for the dance-floor, but retain conscious and positive messages that are as relevant now as they were back then. 'Change TheWorld’ is an anthemic feelgood disco funk gem, whilst 'Try, Try ‘ is reminiscent of a Mizell Brothers golden-era production.

Mr Bongo present a replica edition with dinked centre- and original cover- and also label artwork, for all to enjoy!

This 2003 mini-album saw Toyah return to songwriting and music- making days in the 2000s. Co-written with Sweet Billy Pilgrim’s Tim Elsenburg, the six tracks include the punky “Little Tears Of Love” and “You’re A Miracle” alongside the brooding, sultry title track and introspective folky “Mother”...

First ever release on vinyl, and the first ever Toyah 10” release, the record is pressed on 180 gram purple vinyl.

A Colourful Storm presents the first ever compilation of work by Velocette, the nom de plume of Jason Williams and one of the most unique producers from the '90s' wider ambient-techno landscape of the United States. Gathered from recordings originally released on Jonah Sharp, aka Spacetime Continuum's Reflective label and Williams' own Parallel Recordings, the tracks are sublime, sought-after and primed for modern audiences. "Bound in a Nutshell" and "Microcosmik" are chill-out room dreams while "Memories For The Future" and "Stumm" are pure dancefloor and after-hours euphoria. Dreamy selection for dancers and and stargazers alike. "Listening to Velocette is like gazing into a brilliant night sky - a blanket of stars shimmering like a kaleidoscope just beyond reach." For fans of Klaus Schulz, Stasis, Likemind. Full-colour printed reverse card sleeve with liner

Massage Brain Cult VA1

Written and produced by BOT1500, D'Arcangelo, Mause, Jessica Walrus, fxbip, Velum break

Digital Mastering by Julian Tardo from Church Road Studios

Vinyl Mastering and Cutting by Keith Tenniswood from Curve Pusher

"Art Is A Cat" is The Dining Rooms' eighth studio album - thirteenth if we also consider five remix and rework records - in over twenty years of career. It comes out five years after the fully instrumental "Do Hipsters Love Sun (Ra)?", and shows itself as a new milestone in the artistic path of the Milanese duo formed by Stefano Ghittoni and Cesare Malfatti.

In fact, "Art Is A Cat" hosts every facet of The Dining Rooms' music, mostly nourishing the intuitions delivered in past albums such as "Experiments in Ambient Soul" (2005) and "Ink" (2007). It preserves all the characteristics of their typical signature: songs balanced between folk and soul, dub expansions, instrumental hip hop and cinematic atmospheres. Not to renounce to any of these aspects and given the high quality of the recorded material, Stefano and Cesare decided not to sacrifice anything, and wrote and produced a 19-song full-length for a total duration of about sixty minutes.

"Art Is A Cat" also hosts a large group of guest singers, both historical voices of the band and absolute novelties, who also co-wrote the lyrics; the vocal parts are interspersed with the group's instrumental classics, from funk-fueled visionary downtempos to more experimental micro-songs. Sean Martin and Georgeanne Kalweit therefore return with two songs each (one of the two sung by Georgeanne has its lyrics written by Jake Reid, a London-based singer who already collaborated with The Dining Rooms in "Lonesome Traveler" in 2011).

Among the new entries we have, first of all, the Italian-Tunisian Rahma Hafsi on the sensual ballad "Little Girl" sung both in English and Arabic, while the very young Italian-Salvadoran Beatrice Velasco Moreno sings, together with Sean on backing vocals, the spoken-word "Teach Me To Dance", the spiritual "Sweet Love" and the title-track, an orchestral folk moment among the most inspired ones in the entire band's history; Lola Kola, queen of Tropicantesimo, also brings an absolute novelty in the world of The Dining Rooms, presenting for the first time an Italian-sung piece: "Nella Sua Loca Realtà", a post-melodic song dedicated to the fragility of love.

The vocal parts series ends with two episodes in which Stefano resumes his past as a singer (in the '80s with Peter Sellers & The Hollywood Party) with the Indian-flavoured "Ohm And Raga" and the existentialist ballad "She Says I'm Bad".

"Art Is A Cat" is therefore a complete and very fascinating album, destined to excite and leave its mark.