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Since our first contact with NYC based producer Thavius Beck in 2018, he sent us over 100 unreleased tracks, or beats, as he calls them. 25 of them have been selected for releases on U-TRAX, good for over 2 hours of music, across this album and the Lovesick EP.

Growing up in LA, Thavius Beck entered the hip-hop scene as member of Global Phlowtations, and released several solo albums under the Adlib moniker. In later years, he released five albums under his own name on labels like Mush, Big Dada and Plug Research, and also produced albums for artists like Saul Williams and K‑the‑I???, and did some remixing for amongst others Nine Inch Nails.
Nowadays he combines making music with a career as a succesful certified Ableton and Bitwig trainer and as a music teacher at Berklee NYC.

The tracks vary in style a lot, but what they have in common is that they either are moody – in U-TRAX lingo: deep - or they are drum heavy. The common denominator would probably be 'experimental/instrumental hip-hop', reminiscent of producers like Flying Lotus. People have tried all sorts of comparisons to pinpoint Thavius' sound, ranging from 'between DJ Shadow and Orbital' and 'a mix of Massive Attack and The Orb'. None of these are spot on, yet quite a few of these tracks feel like a happy marriage between hip-hop beats and techno sounds.

Despite the fact that some tracks are 20 years old and have been made with widely different gear (one track was even made on a PlayStation 2), this selection sounds remarkably balanced, yet diverse.

From the irresistible single 'Lovesick/Still Sick' to the dark and massive 'Birdsong' (that echoes the sound of his popular song 'Atmos'), and from the head-nodding 'Work!' to the soothing 'Reunited With The All' - if this collection showcases anything, it's Thavius' brilliant production and composing skills, as well as his wizard-level sampling techniques. The result is a luscious electronic music album with a broad appeal.

Available on double 180 grams colored vinyl vinyl, comes in gatefold picture sleeve.

* 140gm vinyl in charcoal black reverse-board disco bag, with red/ hot pink/ blue/ off-white patterned wraparound sticker, and embossed play:musik icon on front sleeve.

* Kuttin Edge arrives on p:m with (115), a musically adventurous set that draws from a range of influences - West African funk, UK and US electronics, Autonomic moods, minimal techno, and Brutalism; while a focus on analogue feel, overdubbing, and textural detail processes tie it together. An interesting, experimental, yet firmly dancefloor friendly EP.

* Tracklist:
A1. Onyeabor: a unique track full of vintage-sound synths, bright melodic lines, Moog-style arpeggios, and rhythms built on a CR78, layered with live drums, tambourines, and bass guitar. Disco funk samples and fx add texture, alongside heavy overdubbing. Inspired by early William Onyeabor aesthetics.

A2. Dark Horse: Dark Horse: an atmospheric arrangement of phase-y pads reminiscent of the peak Autonomic era, filtered through the abstract lens of artists like Actress or King Britt. The pacing and negative space give the tune a weighty but airy feel, punctuated by heavy toms and documentary-style foley. Soulfully cosmic.

B1. Loop Me: polyrhythmic arpeggios, swirling delays, unstable harmonic structure, and chromatic movement form a tense, shifting progression. Built around a single bell sample, the track is reshaped through layering, modulation, subtle changes in texture, and filtered transitions. A techno stepper.

B2. Geiger Scale: experiments with playful but controlled randomness, minimal structure and off-grid sequencing. The idea centres on a toy synth with loose notes and laidback groove formed of irregular, rhythmic patterns. Geiger Scale perfects restraint as the arrangement bubbles along with sparse melodies. Smokey and potent.

It has been a long time since Creepy Crawl released any music – the return to the fray was not something we had had thought about – times have changed, the world of underground music is almost unrecognizable – however things came back into focus earlier this year when the underground legend that is Mike Vest came calling…. Mike Vest is a one man musical tour de force known for his extensive work with such bands as Bong, Drunk in Hell, 11 Paranoias, Blown Out and Mienakunaru to name a few, releasing records on many underground labels such as Riot Season, Ritual Productions and Cardinal Fuzz etc For Brain Pills Mike has teamed up with Adam Stone from the excellent Poundland on vocals and Nick Raybould from Thought Bubble on drums and art – the result is very impressive indeed – primitive but deadly drums, pulverizingly heavy riffs – lots of fuzz and distortion going on coupled with Adam Stones demented and haunting vocal style all topped off by the excellent and disturbing artwork courtesy of Nick Raybould.

The LP Goatshead is homage to Mike's hometown of Gateshead – Goatshead being the ancient pagan name. The record has been mastered for this vinyl release by crust punk legend Bri Doom, known for his work with Sore Throat, Doom, Lazarus Blackstar and most recently with the excellent Disciple BC - the sound is massive, just what you would expect. Released on clear yellow vinyl with OBI strip and limited to just 300 copies – consume or die!

Are you ready for seconds? Feed LA are back once again with their sophomore full-length album, "More Feed’.

With each release, Feed LA lifts away from familiar forms, offering listeners both inventive improvisations and unexpected harmonic textures. Based in Berlin, the band weaves freely across experimental jazz, punchy funk, and low rock treadings. Sidestepping neat categories and market gridlines, the group leans into the joy of jazz music—rich in wandering detours and pivoting surprises. Feed LA's tracks unfurl before our ears, inviting listeners to the intricate conversations between players, where every murmur, pause, and sudden spark waits to be discovered.

They describe their style as "Free Pop”, a blend of jazz, funk, and pop instrumentation, with a touch of vocal accompaniment.

Get a second helping of Feed LA's unique musical sounds with their newest album, "More Feed,” now available on black vinyl LP and compact disc. Only on Mighty Eye Records!

First-ever double vinyl release of TARIKAT, featuring 16 tracks recorded between 1986 and 1989, originally released on the now out-of-print 1997 double CD (Daft Records) and innitial 1991 cassette. This release features 16 tracks, remastered for this edition, showcasing E.G.'s unique sound from the eighties, reminiscent of other albums like Arispejal Astisaró, Nador, and Sheikh Aljama. This is a period especially appreciated by E.G. fans, where they developed their original and unique style that influenced many later groups and artists of industrial music and even certain forms of techno. Rough, primitive and minimalist, the tracks are constructed on distorted and noise rhythms, sometimes industrial, sometimes with tribal and African influences using synthesizers and analog electronic instruments. Gabriel Riaza, founding member of E.G. until 1991, worked in Melilla (North Africa) during those years, and this influenced the conception of many of Tarikat's tracks. The images used in this release are by Andrés Noarbe, who was responsible for Esplendor Geométrico's graphic design during the eighties and also served as the band's manager. The overall design is by Alonso Urbanos. Recorded by Arturo Lanz and Gabriel Riaza in Madrid and Melilla (North Africa) between 1986 and 1989. Tarikat is available as a limited edition double LP, a key release for fans of E.G., capturing their innovative and influential style that shaped industrial music and techno.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

“O(c)tavio’s EP brings together a global crew of producers who all share the same name and a passion for high-quality techno. The A1 kicks off with “Fadeface” by NY based producer Otavio aka Fadeface, a rolling, driving cut that balances weight with groove. A2 follows with a no-nonsense loopy techno heater by Octavio, 1/3 of the Paraguayan group LPZ — pure dancefloor pressure, stripped and effective. On the flip, Argentinian artist Octavio Octavio brings a bit more swing with a groovier B1, still rooted in the floor but with a fluid touch.

Closing things out is a collaborative B2, combining all their styles into one cohesive, heavy-hitting statement. Pressed to vinyl and wrapped in stunning artwork by the talented Brazilian graphic designer Otavio Santiago. Turns out, putting a bunch of O(c)tavios in the studio results in one hell of a techno record.”

Flamenco is a Spanish art, which has always been prone to hybridization with a multitude of musical languages. Therefore, the universe of "flamenco fusion" could well reflect the way in which Spaniards have related throughout history with other cultures. And that relationship may have often been one of dialogue, exchange, respect and crossbreeding. Among the circumstances that could have favored the traditional mestizaje of flamenco art is the open character of the south of the Iberian Peninsula, to all the civilizations that have settled in its territories; the encounter with America in 1492, and the brotherhood with the Spanish-speaking countries; that the Casa de contratación de Indias, the entity that regulated the transit between Spain and America for centuries, was founded in none other than... Seville! (and olé); without forgetting the FUNDAMENTAL African contribution, brought to America by millions of black slaves throughout the 400 years of the slave trade. Pícaro vol. 4 is an excellent example of how some Spanish flamenco musicians knew how to take advantage of the fashion of other styles and rhythms coming from outside Spain, creating a new sound universe and incorporating them into their repertoire. Undoubtedly, there is a generational replacement of "flamenco Ye-Ye" in Spain with artists like Rosalía or C. Tangana, although now it will be necessary to modernize "the label". This compilation offers us a snapshot of the multiple styles of flamenco hybridization that triumphed in the world during the decades of the 50's and 60's of the 20th century. Through its microsurcos we will discover immeasurable flamenco ye yé (track 1), flamenco rock & roll (tracks 3 and 4), flamenco cha cha chá (tracks 6, 7 and 15) or flamenco mambo (track 12), together with other unusual, exotic and impossible mixes of Spanish song with tango arrabalero, bluegrass, easy listening, swing, groove or soul. Always a happy mix, which are brought together with exquisite taste in this vinyl for your enjoyment.

Linda Smith and The Smashing Times are the best of friends. They are both currently based in Baltimore, USA. This split 7” EP celebrates that friendship with two new tracks by each act; united by DIY spirit, a bedroom-pop sensibility and now a puddle of black vinyl.

Songwriter Linda Smith has a gentle but unconventional experimental style that continues to evolve as she adds new entries to her storied catalogue. Smith’s pioneering work with four-track production in the '80s found her at the beginning of a home-recording movement that would set the pace for the decades of indie rock that followed. During this most active period, Smith's music was limited mostly to obscure cassette and 7" releases. This trailblazing time was recently revisited on Captured Tracks’ compilation ‘Till Another Time: 1988-1996’. Shortly after Smith’s retrospective, she teamed up with like-mind and collaborator Nancy Andrews to release an album of beguiling pop entitled ‘A Passing Cloud’ (2023). The duo performed songs from that record at Upset The Rhythm’s 20th anniversary party at Café OTO that same year. 2024 saw further reissues of Smith’s music including Nothing Else Matters (1995) and I So Liked Spring (1996).

The Smashing Times are a premier East Coast Pop Experimental Group. They have also gleefully performed in London for Upset The Rhythm twice in quick succession. Known for their dogtooth style, waggish mod attitude and tumbledown sound, The Smashing Times have holes in their socks and sit idly between The Kinks and Tori Kudo. Their previous albums on K Records, Perennial and Meritorio are a cherished commodity steeped in Paisley psyche and slapdash panache.

One of the absolute classics from the Swedish prog-rock scene, for the first time ever on vinyl! The Hemulic Voluntary Band (2007) is the fourth studio album by Swedish progressive rock band Ritual. Its title references a fictional brass band from Tove Jansson's Moomin universe, but the music leans more toward folk, symphonic rock, and '70s-style prog, resulting in a richly imaginative sound. Although not a concept album, it's thematically tied by literary influences and a sense of childlike wonder. Drawing on Jansson's work, the lyrics explore imagination, nature, and the fantastical. Ritual's songwriting focuses on storytelling and emotional depth, creating an immersive experience. Critics praised the album's inventive arrangements and emotional range. It's mix of complexity and accessibility appeals to both prog fans and casual listeners, with a strong balance of technique and feeling. In short, The Hemulic Voluntary Band showcases Ritual's skill at crafting intricate yet heartfelt music. Its fusion of folk, rock, and prog, paired with thoughtful lyrics, makes it a standout in the genre.

Purple Vinyl 7" Single! limited edition! Chastity Belt's version of "Loaded Painted Red" doesn't just cover 764-Hero's original. It dissolves into it, rebuilding it with a gauzy, wide-open clarity. It's a song that's always carried a certain weight: bruised and echoing with late '90s Pacific Northwest melancholy. In their first-ever recorded cover, Chastity Belt traces that ache into new territory, drawing it out like bated breath. Lydia Lund threads a new guitar line through the song, tugging it towards their distinct style like a slow orbit around the song's core feeling. "I've been a fan of 764-Hero for a while now, and 'Loaded Painted Red' is one of my faves!" says Julia Shapiro. "It was hard to do the song justice because the original is so perfect, but we also had fun reimagining it and making it our own." Initially released in 1998 on 764-Hero's Get Here and Stay (Up Records), "Loaded Painted Red" has long been a fan-favorite, a softly jagged and charged meditation. The new split 7" pairs the cover with the original, a full-circle release that marks 764-Hero's catalog joining the Suicide Squeeze family. Together, the two versions collapse decades into a single foggy breath riding out the dusky golden-hour light of the Pacific Northwest.

Mutant is proud to present Academy Award®-winning composer Michael Giacchino’s latest installment of his Exotic Themes for the Silver Screen series - Featuring more iconic scores from Giacchino’s career that have been exclusively rearranged and re-recorded for this series in the retro lounge style of the 1950s.

Volume 2 spans the period of 2012 to 2022 and features not only his work with Marvel Studios (including their iconic Marvel Studios Fanfare, Spider-Man, Doctor Strange and more!) but also more career defining music for Disney • Pixar (Inside Out, Coco and Lightyear) as well as smaller, cult classics like John Carter, and Tomorrowland, more personal films such as Jojo Rabbit and The Book of Henry. He has taken these iconic themes and transformed them into soothing, beautiful 60’s lounge-inspired reworks.

Other highlights include ‘The Batman Suite’, taken from Matt Reeves' 2022 blockbuster The Batman, ‘Jyn Erso’s Theme’ from Rogue One: A Star Wars Story, as well as themes for War For The Planet Of The Apes, Jurassic World and two selections taken from his directorial debut Werewolf By Night

"We are thrilled to continue exploring Michael’s storied career with this incredible collection of some of his most beloved themes reworked for warm summer nights with a cocktail (or mocktail) in hand," says Mutant co-founder Spencer Hickman. "Michael is a rare composer who is comfortable with superheroes, horror, action, or intimate drama. He always manages to create incredibly beautiful earworms that have been further highlighted by these stripped-back downtempo versions of his award-winning themes.’

Featuring liner notes by Charles Phoenix, artwork by Luke Insect, and pressed on limited edition color vinyl (also available on CD)
“So much was rooted in the big orchestral sound, so it was really about scaling it back. The real trick is figuring out the little fun hooks and things you can add along the way. There were no rules; I was up for anything. It was a way to re-engage with the material and be creative in a new way.”

Exotic Themes for the Silver Screen – Volume 1 includes an array of reinterpreted pieces from Michael Giacchino’s career. Highlights include ‘Primordial Forest’ from the 1997 video game The Lost World: Jurassic Park, ‘Life and Death’ from Lost, the theme from Ratatouille, ‘Roar!’ from Cloverfield, ‘Enterprising Young Men’ from Star Trek (2009), ‘A Man, A Plan, A Code, Dubai’ from Mission: Impossible - Ghost Protocol, and a Super 8 suite.

Featuring package design by Luke Insect, and liner notes by Charles Phoenix.

Banana Stand vinyl. I Was Trying to Describe You to Someone is Wednesday's second fulllength album & first as a full band. The Asheville, NC quintet (guitarist/ vocalist Karly Hartzman, lead guitarist Daniel Gorham, pedal steel guitarist Xandy Chelmis, bassist Margo Schultz & drummer Alan Miller) maximizes the dark dissonance of a three guitar attack to highlight the emotionality of Hartzman's bell-clear vocals & wisps of half-recalled memories & literary references that make up her lyrics. I Was Trying to Describe You to Someone's eight songs meld elements of shoegaze, grunge, indie pop & southern American culture into a uniquely personal style of modern rock music that resonates with power & tenderness. The ever-darkening & deepening of Wednesdays' sound on I Was Trying to Describe You to Someone owes a debt of influence to The Swirlies, Arthur Russell, Red House Painters, Tenniscoats, Ana Roxanne, Acetone, & their continued collaboration with MJ Lenderman (who lends backing vocals to the songs "Billboard" & "November"). I Was Trying to Describe You to Someone was recorded at Hartzman's home with engineering assistance from her roommate Colin Miller. The depth & clarity of the recordings balance the distorted volume of Wednesday's live performances with the intimacy of Hartzman's voice. Her words hold the center of the chaos, unobscured by the power of the band. Hartzman describes her lyrics as "attempts to access old personal memories & do them justice through prose, with inspiration from the writings of Richard Brautigan, Flannery O'Connor, David Berman & Tom Robbins, & movies like Steel Magnolias."

Internet's favourite music critic and Youtube star Anthony Fontana aka Needledrop has gotten a liking to the Grande Mahogany vinyl & digital album 'As Grande As'. The bald funny guy has been raving about the album to his millions Youtube, TikTok and Instagram follower on several occasions, also covering the record in his 'one of the great albums of 2024' round up.

The album is also already making waves in the UK with continuous plays on BBC Radio 1 by Jazz Supernova and BBC Radio 6 by Cerys Matthews as well as the New Music Fix show.

If this is the first time you're hearing about Grande Mahogany, now is the time. Behind the alter ego of Grande Mahogany is Finnish-Ghanaian multi-instrumentalist Jesse Essel, who relocated with his family from Finland to Manchester, England, at the age of 11. It was in Manchester where Essel found his own style, drawing inspiration from the city's diverse music scene.

Grande Mahogany's unique blend of Funk, Rock, Afro-Psychedelia, and R&B has already garnered international interest. Singles from the album, such as "Angle of The Dangle," "Thundercurls," and "SUPER ROCKER," have caught the attention of prominent music critics, for example Anthony Fantano of Needledrop.

"As Grande As" stands as a testament to relentless creativity and perseverance, much of it crafted during tumultuous times. It invites listeners to embrace its raw authenticity, serving as a chronicle of the artist's journey towards unfiltered expression. Mastered by Guy Davie, whose credits include work with Kaytranada, Jon Hopkins, and Mikael Kiwanuka, the album ensures a high-quality sonic experience.

The follow up the successful ‘Gary Crowley’s Lost 80s’ released in 2019
“I count myself incredibly lucky when I think back to my 1980’s. A lot of those bands and artists that
resonated with me during that time are featured on this, our sequel to our first Lost 80s collection, which we
have inspiringly titled “GC Lost 80s Two”!
I must be honest and say as soon as I delivered the track listing for the first compilation, I already had a
selection in mind for a sequel (if ever I was asked by those cool folks at Demon). Thankfully, they asked...and
this is it.” Gary Crowley
21 tracks compiled and themed by Gary Crowley side-by-side. Many of these tracks are rare and hard to find,
the better-known artists appearing represented by some of their lesser-known (‘lost’) tracks.
Presented on 2 x 180g Clear Heavyweight vinyl, includes an introduction and track-by-track notes by Gary
Crowley, plus memories of the era from Mick Talbot (The Style Council) and more.
“Expect a selection of not only the bigger names with some of their ‘lost’ gems, but also a raft of lesserknown artists. Many of the latter came nowhere near the mainstream but most certainly (IMHO) deserve
another chance to shine under the spotlight. It was such a diverse and eclectic time for music, hopefully this
box set mirrors that.” Gary Crowley


b a2. Working Week – Venceremos (We Will Win) 7” version





h b2. Working Week – Venceremos (We Will Win) 7” version









r c6. World’s Famous Supreme Team – Hey! DJ 7” version
[s] d1. General Public - Tenderness [Special Dance Mix]
[t] d2. Colourbox featuring Lorita Grahame– Baby I Love You So [12” Version]
[12” Remix]

Let There Be Cello finds 2CELLOS exploring a diverse catalogue with their signature boundary- breaking playing style. Co-produced by Šulić and Hauser themselves as well as Filip Vidovic, Let There Be Cello is a showcase of their exceptional talent for reinventing the music of any genre. The collection includes their take on Ed Sheeran’s “Perfect” and “Despacito” by Luis Fonsi, a fan-favorite rendition that has garnered over 39 million views on 2CELLOS’ YouTube alone. Known for bringing their explosive playing style to some of rock’s biggest anthems, they make
no exception on this album, which features favorites “Eye of the Tiger” by Survivor and The White Stripes’ iconic “Seven Nation Army,”. Taking their classical instrumentation to new heights, 2CELLOS rounded the album with everything from celebrated classics (“Imagine” by John Lennon, “Hallelujah” by Leonard Cohen) to never- before-heard original compositions (“Concept2,” “Cadenza”) for a listening experience unlike any other.

Monaberry Vinyl 002 ain knit from Sears. All artists wear it because it stretches for fit and it‘s styled for fashion.
Super Flu, NIIXII, Made In TLV, Goom Gum x Dancing On Lego and Derun are pretty savvy. They know how to dress fashionably
and comfortably. The second VA vinyl fills the bill. Consider the selection: 4 tracks, patterns and styles. And the Perma-Prest
baseline: it‘s a Monaberry polyester and triacetate knit for stretch comfort around the collar, across the shoulders and body.
Everybody has the comfort features that make music comfortable. See these great-looking Monaberry shirts now at most
stores, in the regular and Big and Tall catalogs

Released in 1997, Uptown Saturday Night is the acclaimed debut album by Bronx hip-hop duo Camp Lo. Known for its smooth blend of jazz- influenced production and 1970s-inspired flair, the album stands as a standout in East Coast hip- hop. Produced primarily by Ski Beatz, the album features lush, nostalgic beats that complement Camp Lo’s unique slang, stylish delivery, and cinematic storytelling.

The lead single, “Luchini AKA This Is It”, became a cult classic, praised for its infectious groove
and sophisticated wordplay. Other highlights like “Coolie High” and “Black Nostaljack AKA Come On” showcase the duo’s charismatic chemistry and retro vibe.

Uptown Saturday Night received critical acclaim for its originality and timeless aesthetic,
cementing Camp Lo’s place in hip-hop history. Its fusion of golden-era rap and soulful funk makes it a must-listen for fans of classic 90s hip-hop and genre-defying creativity.

Uptown Saturday Night is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

Sydney artist Natalie Slade's debut album Control, co-written with Hiatus Kaiyote's Simon Mavin, is now followed-up with a second instalment of Australian future soul in Molasses, an album featuring a range of UK and Antipodean artists. Joined by The Dieyoungs on keys and Laneous on guitar, Natalie's songwriting and vocals are brought to the fore with excellent production by key Melbourne scene driver, Brisbane's Sampology and additional production from guest Dan Kye. Staying true to the debut album's style of Australian future soul Molasses has an emphasis on poetic storytelling, Natalie's lyrics and melodies that are heard against a lush bed of string arrangements and the influence of Sampology’s soulful but gritty sensibility. As well as her amazing eponymous releases Natalie has also featured on tracks from artists as important and diverse as Posy, Plutonic Lab, Parker and Rhodes and Dojo Cuts among others. Sampology is an innovative producer who, for the past 15 years or so, has been a driving force behind Australia's Hip-Hop, Neo-Soul and Broken Beat/Jazz explosion and has worked with the likes of Ron Trent, Tiana Khasi and Charlie Hill as well as releasing his own tracks. This collaboration between Natalie and Sampology on Molasses is a real high-water mark of music, song-writing and production. Releasing on digital and double vinyl LP, Molasses further chronicles the rising stars of Australia's burgeoning and increasingly important neo-soul and future soul scenes.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.