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V.39 here you have, 40 special cuts and tracks of the most aclaimed deejay-producer of all the times, DJ PREMIER, helped for someones of the more importants stars of Hip Hop like NAS, SNOOP DOG, GANGSTARR,... This is a special and powerful weapon for all the Hip Hop creators and DJ's.

Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed.

The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike.

Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk.


Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.

More than 50 million records sold, LP productions in Hungarian, German
and English, tours and festival appearances throughout Europe and
Japan, at least 50 cover versions or adaptations of the world hit
"Gyanngyhaj li ny" - Omega are Hungary's number one rock export
In 2022, the band will be celebrating its 60th stage anniversary, making it one of
the longest-serving rock formations in the world. On St. Nicholas Day, December
06, 2021, singer and founding member J nos K bor passed away due to the
coronavirus. Now the Omega albums from the well- known and successful
Bacillus era will be rereleased originally and completely on vinyl. After a few trips
into symphonic and psychedelic rock realms, Omega presented themselves on €
III € , released at the end of 1974, again more down to earth: Nine crisp hard rock
tracks, only one exceeding the four-minute mark. For this album, Peter Hauke, still
producer, and Omega not only used current material, but also included songs that
had already been recorded on the Hungarian original from 1969: "Stormy Fire" and
"Spanish Guitar". In order to attract a broader audience, the songs had been pared
down, instrumental soloing was reduced. Although Omega had always flirted with
progressive stylistic means since their turn to psychedelic rock in 1969, this time
they kept their hands off intricate arrangements. Instead, they turned towards the
zeitgeist by including rather blunt rock tunes like "Stormy Fire", "Go On The Spree"
and "Fancy Jeep" in the list, which could also please a glam rock fan and
passionate consumer of single hits by bands like The Sweet and Slade.

“It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with,” says Andy. “They’ve given them a new technicolour life.” “David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into an hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. “James Chapman AKA Maps has taken ‘It Gets Easier’ to a bigger, brighter and shinier place, he’s given quite a downbeat track a euphoric and epic sheen. James is an absolute master of electronic production and he’s taken the same care and attention over this remix as he does with his own wonderful music. “I couldn’t put Richard Norris’ lovely widescreen take on ‘Something Like Love’ better than the man himself – in his own words he found the ‘hitherto undiscovered sweet spot between ‘Roscoe’ and ‘Outdoor Miner’’ and he tapped into the melancholy euphoria at the core of the song. “bdrmm’s remix of ‘Way Of The World’ is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble (by way of Andrew Weatherall). Astonishing!” A1 The Sky Without You (David Holmes Radical Mycology Remix) A2 It Gets Easier (Maps Remix)B1 Something Like Love (Richard Norris Remix) B2 Way Of The World (bdrmm Remix) Reworkings of songs from Flicker by David Holmes, Maps, Richard Norris and bdrmm.

Live At Robert Johnson proudly presents the new »Holographic Witness« EP by Niall Mannion aka Mano le Tough!

Please enjoy four very special tracks made by experienced Irishman Mannion near beautiful Lake Zurich. Four tracks to jump into like Zurich folks jump into the Limmat to get carried away. Now here's YOUR chance to get carried away too!

Let's start with the hypnotic grooves of »Holographic Witness« with its subtle handclaps and percussions turning this bass-line driven monster to further heights - a bass-line quite reminiscent of that special Miami sound made famous by the Murk guys back in the early 90ies. Add some balearic guitar riffings and wait until that mighty bass drum comes back in after 6 minutes and you'll find yourself dreaming on a dancefloor in heaven.

Niall continues with more pounding drum sounds in next tune »Kakooja«. Stabbing synths sounds dominate this track while Niall manages to create another dreamy vibe again for this monotonous (in a very positive way that is) work of art - a dreamy vibe which can be found on any of Niall's EP's tracks. This leads us directly to »Last Floating Figh, Liufe Floating« where Mr. Mannion floats into much quieter shores. It's a very meditative affair which makes you want to listen to it over and over again once the tune comes to an end. We think that Señor Villalobos might unleash this one very soon onto some European dancefloor … don't you think?

On »Weather Master«, this EP's last track, Niall masters the art of trippy sounds for a fourth time building another dreamy hypnotic groove that is just beautiful. Maybe too beautiful for this world … we don't know, but what do we know? We're fans. Fans of Mano Le Tough who does not seem so tough at all considering his first offering for Live At Robert Johnson.

Maybe you should consider becoming a fan too - in case you aren't already …

Sláinte, Niall! We raise our glasses respectfully!

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

Humour live together in Glasgow and formed in lockdown
The music is intended mostly to be a backdrop to Andreas' lyrics, which are a
mixed bag. We hope that each song looks the way that it sounds. Our musical
influences don't shed much light on the project – we don't listen to much postpunk although we all quite like it. We listen to stuff with good lyrics and stuff that
makes you feel sad.

For Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates "Brother K" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: "The Blues", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty: "Yes Dizzy, you made it".

Dizzie Gillespie, Trumpet and Vocals
Mike Longo, Piano
Alexander Gafa, Guitar
Earl May, Bass
Mickey Roker, Drums
Guest Artist : Jon Faddis, Trumpet on tracks 9 and 10

Recorded at the Singer Concert Hall

Laren Jazz Festival, 25.VIII.1973

STEREO ℗ 1973 VARA

Remastered by ℗ & © 2017 FONDAMENTA

Made and printed in Germany

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

2022 Repress

From Piero Umiliani, legendary soundtrack composer for numerous Italian movies of the 60s and 70s, and the man behind Mah nà Mah nà' (Muppet Show, Benny Hill, Sesame Street), the Omnicron label ("sound library' works) and the Sound Work Shop recording studio. - For fans of experimental music, avant-garde, synth experimentations, Ennio Morricone, Riz Ortolani, Giallo movies, Mondo movies, soft erotica, and wonderfully weird stuff. - The album is fully remastered for new levels of enjoyment. We Release Whatever The Fuck We Want Records is thrilled to announce the vinyl re-release of sought-after experimental gem Il Mondo Dei Romani by soundtrack and avant-garde maestro Piero Umiliani, remastered straight from the original reels and available for the first time since 1972! Originally recorded for a TV documentary about ancient Rome and released on Omnicron (Umiliani's label), Il Mondo Dei Romani finds Piero Umiliani experimenting with electronic instruments (his oscillators") to offer a fascinating rendition of what synthesizer-based avant-garde ancient Roman music would sound like - a weird and extremely hypnotizing retro-futuristic experience where faux cithara, lyre, organ, and trumpet sounds are driven by proto-techno sequences and minimalist rhythms. This brilliant electronic oddity is the perfect companion to WRWTFWW's previous Piero Umiliani release, Tra scienza e fantascienza, and is a limited edition of 500 orange vinyl LPs (no digital).

2022 Repress

.For this from that will be filled is the debut album by Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME). The album explores the variable differences between acoustic and electronic sound as well as depiction of the simulated and the unconscious. It was originally conceived as a collaboration between Jensen and the artist Jonathan Turner as an audio-visual work, but is here presented in it´s pure audible form.Building on a long and romantic tradition of solo cello repertoire, Jensen expands and confuses the familiar sound of the cello through the use of effects pedals, multi-tracking, and tape loops recorded at variable speeds, presented in works she has written for herself as well as a piece she conceived together with Icelandic composer Jóhann Jóhannsson. Also featured is Michael Harrison's Cello Constellations for multi-tracked cello and sine tones, written for Jensen, which meditates on long, sustaining tones.With For this from that will be filled, Jensen has made an incredibly strong first album that feels like a surreal and futuristic journey through an alternate timeline.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Blue Vinyl

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Exclusive to INDIE STORES: Hiss and Shake Records to release ‘Logically Yours’ – a limited edition, 5 x LP boxset of 50 essential recordings from seminal post-punk icon Lora Logic including 2 classic Essential Logic albums, early single releases, EPs, B-sides, rarities, vinyl exclusives + first new Essential Logic studio album in 43 years! Includes the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) + ‘Pedigree Charm’ + 2 retrospective compilations of early single releases, EPs, B-sides, rarities + vinyl exclusives ‘Aerosol Burns & Other Misdemeanours’ + ‘No More Fiction’ + new studio album ‘Land of Kali’ (first in 43 years) + 20 page booklet with introduction from Celeste Bell + Lora Logic Q+A. Susan Whitby, aka Lora Logic was one of the most distinctive talents from the post-punk era known for her intoxicating, rough-around-the-edges, yet exhilarating sax playing and haywire vocal style. Her offbeat, occasionally arresting lyrics tackled alienation, sexism, poverty and urban isolation, and with a complete disregard for convention, she carved her own path not only in her short-lived music career but also personal life. She was still in her teens when she answered an ad in Melody Maker “Looking for young punks,” and in 1976, with her friend Marion Elliot (aka Poly Styrene), she formed the punk band X-Ray Spex and acquired the pseudonym, Lora Logic. The duo soon achieved notoriety with the irresistible feminist protest single, ‘Oh Bondage Up Yours’ (1977) – Logic arguably stealing the show with her thrilling punk sax. “X-Ray Spex was my first band, I happened to be accepted, It happened to work, I happened to get famous overnight. I’d been playing sax in a cupboard in my room; I thought I better do something.” However, just prior to recording 'Germ Free Adolescents' (1978), X-Ray Spex's debut album, she found herself unexpectedly ousted from the band. With abundant enthusiasm and encouragement from Geoff Travis, founding director of Rough Trade Records, she went on to form Essential Logic, creating some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. Hiss and Shake Records are pleased to present a limited edition boxset of 50 essential recordings from the irresistibly engaging Lora Logic archive, allowing for a new generation to become aware of her incredible creative output. Across 5 LPs, ‘Logically Yours’ includes in their entirety, the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) (1979) – Essential Logic’s sole studio album, and Lora’s solo album, ‘Pedigree Charm’ (1982) – her last studio album before turning her back on the music business, sad and disillusioned and fighting drug addiction, which saw her turn to a Hare Krishna lifestyle, alongside Poly Styrene, embracing a fresh new chapter. This totally absorbing and definitive collection also includes two retrospective compilations; ‘Essential Logic – ‘Aerosol Burns & Other Misdemeanours’, which comprises early single releases, B-sides and oddities including the gloriously chaotic ‘Aerosol Burns’, the essential punk/disco ‘Music Is A Better Noise’, and ‘Fanfare In the Garden’, showcasing Lora at her most pop. In addition, ‘Essential Logic – ‘No More Fiction’; contains 10 vinyl exclusives, including ‘Do You Believe in Christmas?’, recorded with the Krishna Kids Choir in 1985, alongside tracks recorded circa 1997, with Martin Muscatt, Dave Farren (Bad Manners) and Gary Valentine (Blondie), forming the basis of what would have been Essential Logic’s third studio album, ‘No More Fiction’. Having recently returned to the studio refreshed and rejuvenated, ‘Logically Yours’ also includes ‘The Land of Kali’ (co-produced by Youth), the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Despite her short-lived career in the music business, Lora still managed to perform and appear on releases with many artists including US experimental rock band Red Crayola between 1978 and 1981, and also appeared on recordings by The Stranglers, The Raincoats, Kollaa Kestää, Dennis Bovell, Swell Maps and later, Boy George. Undoubtedly an iconic figure of the UK post-punk scene, Lora Logic’s boldness, adventurousness and sense of fun can be seen as an influence on numerous female artists today including Karen O from Yeah Yeah Yeahs, Peaches and St. Vincent among others. Tracklisting: Essential Logic ‘Beat Rhythm News (Waddle Ya Play?)’ (1979). A1 ‘Quality Crayon Wax OK’ A2 ‘The Order Form’ A3 ‘Shabby Abbott’ A4 ‘World Friction’ B1 ‘Wake Up’ B2 ‘Albert’ B3 ‘Alkaline Loaf in the Area’ B4 ‘Collecting Dust’ B5 ‘Pop Corn Boy (Waddle Ya Do?)’…… Lora Logic – ‘Pedigree Charm’ (1982). A1 ‘Brute Fury’ A2 ‘Horrible Party’ A3 ‘Stop Halt’ A4 ‘Wonderful Offer’ A5 ‘Martian Man’ B1 ‘Hiss and Shake’ B2 ‘Pedigree Charm’B3 ‘Rat Allé’ B4 ‘Crystal Gazing’…..Essential Logic – ‘Aerosol Burns & Other Misdemeanours’. A1 ‘Aerosol Burns’ (1978) – Debut single A2 ‘World Friction’ (1978) – ‘Aerosol Burns’ B-side A3 ‘Eugene’ (1981) – Single A4 ‘Tame the Neighbours’ (1981) – ‘Eugene’ B-side A5 ‘Music Is A Better Noise’ (1981) – Single A6 ‘Moontown’ (1981) – ‘Music Is A Better Noise’ B-side B1 ‘Fanfare In the Garden’ (1981) – Single B2 ‘Stereo’ (1982) – ‘Wonderful Offer’ single B-side B3 ‘Rather Than Repeat’ (1981) – ‘Wonderful Offer’ single B-side B4 ‘The Captain’ (1979) – ‘Fanfare In The Garden’ B-side B5 ‘Soul’ (1983) – Previously unreleased on vinyl B6 ‘Stay High’ – Previously unreleased on vinyl….. Essential Logic – ‘No More Fiction’. A1 ‘Essential Logic’ (1991) – Vinyl exclusive A2 ‘On The Internet’ (1998) – Vinyl exclusive A3 ‘Under The Great City’ (1997) – Vinyl exclusive A4 ‘No More Fiction’ (1998) – Vinyl exclusive A5 ‘Love Eternal’ (1997) – Vinyl exclusive B1 ‘Barbie Be Happy’ (1998) – Vinyl exclusive B2 ‘Not Me’ (1998) – Vinyl exclusive B3 ‘The Beautiful and the Damned’ (1997) – Vinyl exclusive B4 ‘Marika’ (1997) – Vinyl exclusive B5 ‘Do You Believe in Christmas?’ (1985) with the Krishna Kids Choir – Vinyl exclusive……Essential Logic – ‘Land of Kali’ (2022). A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’

Standard LP is on classic black vinyl. The Land of Kali’ (co-produced by Youth), is the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” The 7” release of ‘Prayer for Peace’ is exclusive to the 5 LP box set “Logically Yours” via The bands DTC site and features a picture of Lora and Poly together during their time living at the temple. Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Tracks: A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’… Bonus Track: Land of Kali – (Adamski's Kali-Kiss Remix) – CD only

Standard LP is on classic black vinyl. The Land of Kali’ (co-produced by Youth), is the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” The 7” release of ‘Prayer for Peace’ is exclusive to the 5 LP box set “Logically Yours” via The bands DTC site and features a picture of Lora and Poly together during their time living at the temple. Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Tracks: A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’… Bonus Track: Land of Kali – (Adamski's Kali-Kiss Remix) – CD only

For Fans Of: Bacao Rhythm & Steel Band, Menahan Street Band, El Michels Affair, The Poets Of Rhythm. Debut LP from The Winston Brothers! Featuring members of Bacao Rhythm & Steel Band. Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. “DRIFT” is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre’s past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, “DRIFT” draws on the raw energy inherent to ‘60s / ‘70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift? Tracks: 1. Winston Theme 2. Boiling Pot 3. Hang On 4. Drift 5. Northern Light 6. Metering 7. One Thing 8. Free Ride 9. High Life 10. Think 11. Brother's Strut

Repress!

We'd like to draw your attention to half Dutch, half Turkish combination Altin Gun, to be released on Bongo Joe records in the near future. Properly done psych funk that really does sound as though it's been made in 70's Turkey (no, really!)

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively
throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself

hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

Tall Black Guy chases his extraordinary 2021-released collab LP, Of Process and Progression alongside emcee Ozay Moore, with the long awaited instrumental version. The record is a celebration of hip-hop and its many influences, especially jazz, funk, soul, and R&B. And now that it’s available in instrumental form, listeners can fully dive into and unpack the layers, samples, and sounds comprising the release.

In speaking about his approach to the album’s production, TBG explains the process as follows: "When myself and Ozay decided to come together to make OP&P, we really wanted to make it to where there were no skips. And the production had to be top notch.” He goes on to say that he didn’t want to just sample, but instead add live instrumentation and collaborations with other musicians to craft the sound they wanted.

“I wanted to make sure Ozay had a lot of space to get his point across in the songs he was coming up with,” TBG says. And while you can certainly hear that space in these instrumentals, they stand on their own as stunning odes to hip-hop and the genres that birthed it. This album is also brimming with musical Easter eggs on each song, particularly on repeated listens as the layers begin to unravel themselves to your ears.

There is so much to love and discover within the instrumentals of OP&P, and for fans of TBG’s past work, it exists as another triumph in what’s becoming one of hip-hop’s most thrilling discographies.

Ein neuer Anstrich gefällig? Das schwedische Melodic Metal Quintett Metalite präsentiert euch ihr Meisterwerk “A Virtual World” als neue und limitierte Clear Orange Vinyl.

“Featuring the mega-hit ‘Place Your Hands’, the album was recorded in Abbey Road, Real World Studios and LA’s legendary Sound City Studios, with producer George Drakoulias at the helm. And it’s fair to say that Glow was the point where everything that made Reef so great – the spirit, the passion, the honesty, the undiluted energy – came together. It’s the sound of a band who were never short of talent or confidence firing on every single cylinder.

“I love every album we’ve made, but Glow is the one that really encapsulates the band,” says Gary Stringer today. “It’s emotional, it’s sexy, it’s passionate, it rocks hard. It’s everything Reef should be.”

Having burst onto the music scene in 1994, and with their debut album Replenish going Top 10 the following year, Reef were on a fast-track trajectory to international fame. But in true Reef style, there were no agonising songwriting sessions for Glow. It was written entirely on the hoof, wherever and whenever they had their instruments to hand – in soundchecks, between shows, in the band’s rehearsal space and the trusty blue VW van which carried them from gig to gig. “

“Featuring the mega-hit ‘Place Your Hands’, the album was recorded in Abbey Road, Real World Studios and LA’s legendary Sound City Studios, with producer George Drakoulias at the helm. And it’s fair to say that Glow was the point where everything that made Reef so great – the spirit, the passion, the honesty, the undiluted energy – came together. It’s the sound of a band who were never short of talent or confidence firing on every single cylinder.



“I love every album we’ve made, but Glow is the one that really encapsulates the band,” says Gary Stringer today. “It’s emotional, it’s sexy, it’s passionate, it rocks hard. It’s everything Reef should be.”



Having burst onto the music scene in 1994, and with their debut album Replenish going Top 10 the following year, Reef were on a fast-track trajectory to international fame. But in true Reef style, there were no agonising songwriting sessions for Glow. It was written entirely on the hoof, wherever and whenever they had their instruments to hand – in soundchecks, between shows, in the band’s rehearsal space and the trusty blue VW van which carried them from gig to gig. “

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

Headcat is an American rockabilly supergroup formed by vocalist/bassist Lemmy (of Motörhead), drummer Slim Jim Phantom (of The Stray Cats) and guitarist Danny B. Harvey (of Lonesome Spurs and The Rockats).

The band was formed after recording the Elvis Presley tribute album by Swing Cats A Special Tribute to Elvis in July 1999 to which the future bandmates all contributed. After recordings were finished they stayed at the studio and Lemmy picked up an acoustic guitar and started playing some of his old favorite songs by Johnny Cash, Buddy Holly, and Eddie Cochran. The rest of the guys knew them all and joined in. The name of the band was created by combining the names Motörhead, The Stray Cats, and 13 Cats, which resulted in Headcat. In 2006, the band released their first studio album on June 27, Fool's Paradise. It included cover songs from artists such as Buddy Holly, Carl Perkins, Jimmy Reed, T-Bone Walker, Lloyd Price, Elvis Presley, and Johnny Cash. On the recordings, Lemmy played acoustic guitar. In later years, Lemmy began to use his signature Rickenbacker bass in live performances.

The band's second studio album, Walk the Walk...Talk the Talk, was released in 2011. This was the first new material by the band in eleven years, following up from the Lemmy, Slim Jim & Danny B album in 1999. It has two original songs ‘American Beat’ and ‘Eagles Fly on Friday’. While the first album was all acoustic, the second studio was all electric with Lemmy playing bass like he did in Motörhead.

Dreamcatcher is a previously unreleased live concert which was recorded at the Dreamcatcher theatre at the Viejas Casino in Alpine CA on 1st Feb 2008. It was produced by the band and mastered by guitarist Danny B Harvey.

Neuauflage des gesuchten Disharmonic Orchestra Albums "Not to be Undimensional Conscious" aus dem Jahre 1992.

Wenn man über Progressive / Death Metal geht, dann dürfen DISHARMONIC ORCHESTRA aus Österreich nicht unerwähnt bleiben. Mit "Not to be Undimensional Conscious" beschritt die Band 1992 neue, avantgardistischere Wege, ohne dabei ihre Death Metal Wurzeln in Vergessenheit geraten zu lassen. Die einzelnen Songs des Albums zeichnen sich durch eine selten in dieser Form erlebte Verrücktheit aus jedoch ohne den Blick auf das Gesamtkonzept zu vernachlässigen. Disharmonic Orchestra gelang es mit diesem Meisterwerk avantgardistische, progressive Elemente mit Death Metal aus der Frühphase der Band zu verbinden. Nun erscheint dieser längst vergriffene und in der Szene hoch gehandelte Meilenstein erstmalig im hochwertigen Ltd, Edition Vinyl in Mint bei Metalville Records.

Debut single for NEW label set up by Savage Pencil (Art), Al From Hell (Printer) and Agitated Records.. primarily to release tasty limited 7” records by awesome new musics.. first release is by Pensylvanian guitar manglers Laurel Canyon, evoking strains of the Stooges via a distinct Pacific Northwest pop filter.. Fluid, Tad, Screaming Trees, Mudhoney etc..are easy points of reference.. but these songs have fire and melody in equal measure and burn their own path, recorded earlier this year with Steve Albini. Punk rock band Laurel Canyon – Nicholas Gillespie, Serg Cereja, and Dylan Loccarini – formed in 2019 when Nick and Serg met through a mutual friend in their hometown of Allentown, Pennsylvania. After connecting over a shared interest in both Arthur Rimbaud and The Stooges, the two began to rehearse together in Serg’s garage. By October 2020, Serg and Nick began composing original songs together as Laurel Canyon. Following their first release, “Two Times Emptiness” b/w “Enemy Lines,” in May 2021, Nick and Serg traded in their characteristic jangle for fuzz pedals and established a relationship with veteran producer Bryce Goggin (Pavement, The Lemonheads) at Trout Recording in Brooklyn. They released their 5-track EP “Victim” digitally on January 14, 2022, rounding out the line-up with bassist Dylan Loccarini. The artist Savage Pencil, who has created artwork for Big Black and Sonic Youth, drew the EP cover. Singles “Daddy’s Honey” and “Eczema” created a buzz online and were featured in Spotify playlists “All New Rock” and “Smells Like Stream Spirit.” Their debut LP, recorded by Bryce Goggin and Steve Albini, will be released in early 2023. More news on that real soon!

2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.

Almost an anti-Christmas song, the Soul Duo’s “Just A Sad Xmas” doesn’t exactly evoke the festive spirit of the season. Comprised of ‘Tidewater’s queen of soul Ida Sands and former Anglos tenor Joe Webster, the duo issued just two singles on Noah Bigg’s Shiptown label. Just in time for the holidays, Numero has repressed this maudlin yuletide burner and packaged the red, white, and green splattered 45s in a rigid cardboard sleeve for easy wrapping.

Storyteller's two albums were released by Britain's then foremost folk label, Transatlantic, their eponymous debut LP in 1970, and their last will and testament, 'More Pages', in 1971. This Svart reissue of 'More Pages' comes after the successful reissue of the band's debut album last year, and this one is likewise restricted to 500 copies on black vinyl. 'More Pages' has been hard to find as a full album, because the Storyteller CD reissue consists of the full first album and only a portion of the second. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Freude am Tanzen is back for a very special occasion. In 2022, three Various Artists EPs will be released, celebrating the 24th anniversary of the label from Thuringia. Whilst occasions like this would
normally be celebrated on the quarter century, this release makes sense not only on the mathematical level. 3 compilations with 4 tracks provide the half of 24.
The release however also makes sense in terms of history. Freude am Tanzen is showcasing a broad range of electronic music, never neglecting their history but also looking into the future.
The second Edition of the Compilation features tracks from Caldera, Freund der Familie, Gathaspar and Front Left. The A-Side focusses on Dub-House. Calderas Track ‚30 Friends‘ gets a smooth yet groovy vibe across. Freund der Familie contributes a hypnotic production, which would suit well incorporated in a warm up or on the home speakers.
The flip side goes deeper into the minimalistic region of electronic music. Gathaspar has produced a trippy journey, featuring the vocals of Anna Partini. One for the morning hours on the dance floor.
Front Left praises the groove with his track ‚AM3N‘. Very playful and delicate and a lovely selection of percussion. Do not miss!5.

"Have you ever had this endless feeling of unconditional love for someone or music, between virtuality and reality, which seems to be eternal for your own heart... " — Nicolas Masseyeff French DJ and producer Nicolas Masseyeff shares his first album in almost a decade on Marc Romboy’s label Systematic. The release brims with lush tones, electronica-flecked rhythms and rich soundscapes, suitable for a club-based audience and home listening. Celebrated visual artist Yann Masseyeff—Nicolas’s brother—is responsible for the artwork of the release.
Raised on the French Riviera, Nicolas Masseyeff started out as a local record dealer before purchasing his own shop, Limelight, establishing it as the most respected vinyl haunt in the South of France. Pursuing music production full-time since the late noughties allowed Nicolas to follow his true path, shaping him into the multi-genre artist he is today. Having released on Herzblut Recordings, Systematic, KD Music, Mobilee and several other esteemed imprints, Nicolas has worked relentlessly to craft a sound that transcends house, electronica, downtempo and afro house. Collaborations with Kittin, Oxia and Parallelle wind throughout his back catalogue, as well as remixes for Frankyeffe, Pig&Dan, Nikola Gala, Hot Since 82 and many more besides.
Endless offers an insight into Nicolas’ spiralling world, detailing the artist’s lithe production skills and consideration when collaborating with other talents, like the interdisciplinary singer Kittin. The collection sums up where Nicolas is at now in his career—a storied producer who continues to evolve, sharing an aesthetic rich in melody while retaining a dance-driven flavour. It’s the kind of sound that comes with years of practice, patience and perseverance.

Following the long-awaited Paradise Of Delusion LP from 2021, An’archives announces Lunatic Pearl, a 10” EP by Japanese psych-pop legends Shizuka. As with the material on Paradise, 狂気の真珠 Lunatic Pearl draws from the deep well of music the quartet recorded in 2001, this time from two studio sessions. Here, though, the group’s classic line-up of Shizuka, Maki Miura, Jun Kosugi and Seven is augmented – on the a-side, they’re joined by Yasushi Nagata on guitar; flip the record, and Kazuhide Yamaji chimes in on acoustic guitar and bass.

Both Nagata and Yamaji were members of long-running Tokyo psych-out gang Dip (also known as dip the flag); Yamaji eventually joined Shizuka for a time, appearing with them on the 2010 DVD, Owari No Nai Yume, released by PSF. Part of Lunatic Pearl finds Shizuka in Paisley Underground mode, the spaced-out acoustic mantras of “Shiroi Inochi” and the instrumental “The Street The Fairy Goes” surprisingly reminiscent of the smeared, slow-motion psychedelics of Opal’s early EPs. The latter, a weightless blur, hovers in the air on dreamy drifts of DX-7, drifting melodies landing on the track like an astral traveller, lost and delirious.

“Lunatic Pearl” itself is a monster, one of Shizuka’s most rock-reverent moments, its bold riff soaring over a rhythm section that thuds menacingly, as though they’re the kings of the rumbling spires. “Signs”, another track from the Studio EUN session, features some gloriously unhinged playing from Miura, as though he’s tearing the song’s seams apart, as the group push Shizuka’s simple, perfect song into the stratosphere. Brief yet perfectly formed, Lunatic Pearl is another gorgeous entry in the Shizuka discography.

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

On his second release for ECM New York-based saxophonist Oded Tzur
introduces a heightened sense of urgency and a conceptually augmented
approach to his distinctive voice, weaving one underlying musical idea
through a series of elaborate and impassioned designs
The quartet's lineup is unchanged from 2020's Here Be Dragons and the group's
interplay has grown even more expressive in the meantime. Throughout Isabela
the saxophonist and his collaborators - pianist Nitai Hershkovits, Petros
Klampanis on bass and rhythm conjurer Johnathan Blake - apply their subtle
dialect in a more intense space, exploring the nuances and colors of Oded's selffashioned raga in a suite- like sequence of quiet meditations and powerful
exclamations.
The remarkable session was captured in Lugano's Auditorio Stelio Molo in
September 2021 and produced by Manfred Eicher.
Oded Tzur: tenor saxophone
Nitai Hershkovits: piano
Petros Klampanis: double bass
Johnathan Blake: drums

For her hotly anticipated sophomore album Nashville songstress Nikki
Lane teamed up with Dan Auerbach of the Black Keys for a record that
turns the vulnerable singer-songwriter stereotype on its ears
With songs that crucify ex-boyfriends, celebrate one-night stands (as long as she
can bolt town right after) and proclaim it s always the right time to do the wrong
thing, Lane comes across like a modern- era Wanda Jackson, albeit with more
oats to sow. "My songs always paint a pretty clear picture of what s been going
on in my life, so this is one moody record," she says. "There s lots of talk of
misbehaving and moving on."

“El Ten Eleven have cemented their place in the annals of instrumental music.” OC Weekly // El Ten Eleven’s 2007 album Every Direction is North is back in print on Green Glass Vinyl. - Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print, on Green Glass Vinyl. 181.8 k Spotify Listeners, 1.12 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Track Listing: 3 Plus 4 / Every Direction Is North / Hot Cakes / Estrella / Music for Staring at Ceilings / Keep Dax Pierson / Living on Credit Blues / The 49th Day Bye Annie, Bye Joe, Bye Michael, Bye Jake

Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print 10th Anniversary, on Orange Vinyl. 181.8 k Spotify Listeners, 1.12 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Transitions is the 2012 album by post-rock duo El Ten Eleven. Bobbing and weaving from one time signature and tempo to another, the duo of Kristian Dunn and Tim Fogarty jolt the listener into new sonic territories with the delicacy of a tilt-o-whirl. Includes a cover of Duran Duran's "Tiger Tiger". Back in print on Orange Vinyl. A refreshing trifecta of compositional prowess, intricate riffage, and experimental pop melodies. --Premier Guitar // “El Ten Eleven is proof that live looping and programming can rock; and that instrumental tracks can captivate and hold a room’s attention as well as any vocal-led group.” --Tape Op! // Track Listing: Transitions / Thanks Bill / Yellow Bridges / No One Died This Time! / Birth / Tiger Tiger / Lullaby

. It's 2021 and Vancouver’s Bootlicker are back with their first full length. Experimenting with various lineups and sounds since 2017, these 14 original tracks flesh out their most realized expression. Following four EP’s and two demos, their self-titled debut stays true to the noise cultivated in the previous offerings. That raw, blown-out production countered with clean guitar sound and Internationally-informed take on a UK82 delivery remains. Everything that made the band what they were on their previous output is polished into a ball of fire that will not be contained. Their mid-tempo, menacing posture of tracks like "Herd The Sheep" and "State Of Fever" give way to the D-beat totality of "Master" or "Two Faced" proving there are still ideas in the tank. There won’t be much left but scorched earth by the time it comes to rest. FFO: Mau Maus, Discharge, SSD. Every copy of this LP comes with 16 page zine-style lyric insert full of illustrations by band member and visual artist Athena.

Whilst most of the North swung to the right in the 2019 General UK Election, the North West held onto their hope and long standing heritage of voting for what imagines itself to still be the ‘Left’. It’s 2022 and there are no political choices left, but to rise up and revolt to Stop the Rot. T.S. Warspite channel their message through a unique musical recipe that answers the question no one asked: What if Bad Religion grew up in Manchester in the 2000s? Made up of some long standing and productive members of the local scene, this sounds like friendship and experience, and some refreshing as fuck hardcore. Singer Marco Abbatiello weaves expertly through scenes of pulp reality where everything is fleeting and only some things stick. What’s left is a farcical montage of things that have rushed past you with no real sense of direction. Personally and politically, it’s all the same wretched soup of societal collapse and the rise of the technocracies. Do yourself a favour, and play this through your Tesla microchip whilst throwing a molotov at No.10. Members of Violent Reaction, Payday, Firearm, Arms Race, Rated X. T.S. Warspite is Paul Morgan, Tom Howard, Marco Abbatiello, Tom Pimlott and Miles Livingstone-Todd. Recorded and Mixed by James ‘Atko’ Atkinson at The Stationhouse. Mastered by Will Killingsworth at Dead Air Studios. Art by Chio. Photos by Meline Gharibyan

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

(6LP Box Set, 180gr vinyl, 4c print + Glossy varnish). Stephan Bodzin, Luna Semara, Solomun, Adriatique, Mind Against, Maceo Plex, Jupiter Jazz, AVNU, Fideles, Denis Horvat, Kevin de Vries, Ben Böhmer, Boris Brejcha, Roman Flügel, Agents Of Time, Patrice Baumel, Echonomist, Hernan Cattaneo, Soundexile, Dubfire, Anfisa Letyago, ANNA, Wehbba, Reinier Zonneveld, Ameloar, Christopher Coe, ANII, Hannes Bieger, MEUTE, Innellea

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

We are delighted to announce RE:WARM 010 in this very infectious South African House-infused Pop record from 1991 drawing on influences from some of the greats in the genre. Sounding like a long-lost Frankie Knuckles L.P or Something The Pasadena’s might have put out in the early 90s. Small’s, “Don’t Leave Me In The Rain” is an under-the-radar grail for all those seeking good time House music for the feel-good slot at any party.

For all those that enjoyed the releases, we put out from Lucky Mereki or Bibbi this one is going to be right up your street. It's more of the same from the townships of S.As 1990’s Pop, Bubble Gum, Kwaito & House scene of the time. The sound was sweet, the message was positive, the clothes were loud and they seemed to be having the time of their lives.

Officially licensed and remastered for this small release run, 500 vinyl copies in total, pick it up here rather than paying the extortionate cost of the rare and hard-to-find original.

Arresto Temporaneo was born very spontaneously as the natural continuation of a collaboration that has lasted for over a year with Tamburi Neri, Adiel and Danza Tribale.

It is pure magic when seemingly different worlds meet and create a dialogue which is the foundation of successfully bringing the creation of this record into fruition. The EP functions as the fusion between the past and the present of the musical experiences of all of us.

Arresto Temporaneo was born by cutting a text "Prepariamoci ad un arresto temporaneo" that the artists liked. The sentence is free to interpret as any of the listeners wish, there is a deliberate reason why the subjective interpretation is avoided.

The EP is filled with the voice and lyrics of A.B. The track "Silenzio" symbolises a moment with which all of us, in spite of ourselves, had to deal with, the deafening noise of silence that can sometimes be devastating and for this reason it is important to understand it and not be afraid of it when it resonates within us.

"Nella penombra" refers to something that moves inside us, not too deep but just important enough to understand, with sounds that nature emits at dawn, when the light still reigns in the dim light, we must learn to move with skills and lightness without harming ourselves and especially others.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

TONICO 70'S SOULFUL SIDE SHINES THROUGH IN NEW ALBUM CO-PRODUCED WITH PEPPE MAIELLANO (BANDA MAJE)

The cover of the new album by musician, rapper, DJ/producer and Banda Maje's co-founder Tonico 70 features an honest, unfiltered photo his mother took of him with a disposable camera – a photo that is as blunt and sassy as hip hop, but at the same time filled with the sweetness of soul music. The style of Antonico is all there, in that shot of a nine-year-old kid that was just beginning to discover and love music – a passion that, as he says now, "has been driving me for over thirty years."

Coming after many years of songwriting, beatmaking, MCing, live performances and collaborations, this new album, his first released on Four Flies Records, connects the dots between past, present and future, presenting Tonico 70 as a fully-rounded artist rather than just a rapper, and one aware of his own many facets.

Co-produced with Peppe Maiellano, Banda Maje's other founder, Antonico offers an intimate portrait of Tonico 70, who has put his 'tough-music-smuggler' persona aside to let his soulful side shine through, giving us a warm, funk-inspired and very original take on the so-called 'Napoli power' sound.


Lyrically too, the album takes us deeper into his world. Here, Tonico 70 evaluates his personal history, speaking about his joys and disappointments, his highs and lows, and the friends and lovers who are or were in his life.

Sometimes his flow is confidential and nocturnal – in "Vic'l", for instance, where the sound is smooth and sweet, rife with contrapuntal notes and harmonies that are clearly reminiscent of 70s soul, but also in the bluesy rap of "Doppia Chance" and the prayer-like song "For For". Other times he gets bolder and brasher, like in the reggae-inspired in "Quaqquara Qua", or in "The Revolution Will Not Be Telefonin", which is obviously a (cheeky) tribute to Gil Scott Heron.

A number of tracks feature long-time friends and collaborators: rapper Morfuco in "Italia 90" (a funky uptempo song with powerful gospel vocals in the chorus), the Funky Pushertz crew in "Sai Com'è" and, perhaps most importantly, the Salifornian soul-funk collective Banda Maje, who give new life to three songs from the artist's previous discography: "Vir Buon", "Gente Antica" and "Fantasie".

This album shows that Tonico 70 has reached a stage of maturity in his career, one where his music extends beyond rap and hip-hop to incorporate rich instrumentals and multiple genres that carry the echoes of his experiences and encounters in the lively alleys of Salerno's historic district, and of the people whose lives unfold there, in the heart of the Mediterranean.

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

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

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

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

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

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

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

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

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


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

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

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

Egg Meat is a new project from London based artists Tooth Rust aka Laurel Uziell and Georgie McVicar, their self-titled EP features poems spoken by Danny Hayward.

The EP features speech-jammed text skittering across insistent rhythms, clipped signals and buzzing, saturated grains. You hear the racket of gunshots, mechanical clutter and punctuating tones that ring out impatiently like an unanswered phone call. Hayward's words at times surfacing as meaningful utterances, at others buried under this dense sonic matter.

The manipulations of voice are also at times so extreme as to render them indistinguishable from the clattering electronics that engulf them. The speech shapeshifts, shudders, and shatters in the way a violin glides and trills above an orchestra. The EP ends with an ambiguous promise: "Don't worry", Hayward assures us, "we'll be back."

“After doing three solo albums, the challenge of interpreting Eric Satie’s music seemed challenging, appealing and also like a good way of finding new angles and flavours in my own music.
What struck me while digging deeper in his catalogue was how modern and progressive he still appears, beside the soothing and calming mellowness that I think we all associate his music with, I found very brave, sometimes stubborn minimalism and besides the blue harmonies that we now associate with jazz, I found really salty, almost cluster-like colours that must have been extremely challenging for the end of 19th century ears.
I humbly thank Satie for letting me borrow his music for a while (he didn’t have a say though), giving me both the meditative peace I hope you will also experience while listening and, like in the Nocturne, challenging my ears and fingers to reach new territories.” – Martin Hederos

AN INCREDIBLE LOOKING PICTURE DISC WHICH SOUNDS AS GOOD AS IT LOOKS!

Following up on the runaway success of his recent vinyl album ‘Return of The Hitman’, Marvellous Cain is back again with an eye-catching slice of vinyl adorned with perhaps the most iconic
illustration of Marv that’s ever been created!

The ‘Jungle Funk EP’ comes hot off the press, kickin off with maybe the funkiest drum and bass track of the year? ‘Love Train’ has had so much support since its promo this summer, perfect vibes
on a huge outdoor sound system. Razor sharp drumbeats underpin the soulful melodies which in turn compliment the funky bass guitar riff that are guaranteed to get you in the mood to party!

On hearing ‘Love Train’ for the first time, the insanely talented Brazilian turntable wizard DJ Marky was instantly smitten and offered to add to the release on remix duties!! So of course, we let him!!

DJ Marky seasons the track with favela flavours and adds a speaker shaking bass which will get you bumping, grinding & calling for the reload until the very last bars.

On the flip side of this gorgeous picture disc, Marvellous Cain offers up two more Drum & Bass / Jungle cuts. ‘Buss Ah Blank’ fuses modern dancefloor bass sounds with 70’s soul, a track that has been a favourite with the likes of Nicky Blackmarket, Charlotte Devaney & did serious damage when Marvellous Cain played it at Notting Hill Carnival on the mighty Rampage Soundsystem.

Finally ‘Funky To Night’ comes with a load more bass guitar licks… There’s a reason this is called the ‘Jungle Funk EP’!

All the tracks on this picture disc have receive support in clubs, and on the airwaves from the likes of Rampage & Heartless Crew. Also if you’ve seen Marvellous Cain’s social media pages then you will understand the lengths this man goes to in order to get his music heard… This will be one of the most entertaining promotional campaigns you’ve ever witnessed!!

Born to a Frafra father and an Akim mother, he grew up in the rainforest of southern Ghana before moving up to the land of the Frafra in the savannah of northern Ghana as a young boy. Growing up in Namoo, his father's village of origin, he was deeply impressed by the glorious moments he experienced during the services at the village's church. All that singing and drumming ensured he was thefirst at church every Sunday, long before the service even started.

His only wish at the time was to be old enough to join the church choir. When he turned thirteen his wish came true and he instantly had hisfirst studio experience, as the choir recorded a series of cassettes on which he performed.

After he hadfinished school he focused on his own career as a Frafra-Gospel artist. In 2007 he released hisfirst album, but it took anotherfive years for him to have his break through as a leading singer. Since the release of his third album in 2012, which contained the original version of "Mam Yinne Wa", he was booked for almost all of the festivals and celebrations in the region and was also invited to almost all of the countless Frafra communities which exist all over Ghana.

In 2013 Max Weissenfeldt visited Bolgatanga, the capital of the Frafra for thefirst time. When he stepped out of the bus at the main market a song by Alogte was playing loudly through some big speakers. He was immediately captured by the music and arranged to meet with Alogte. After a short introduction they both agreed to do some recordings.

Weissenfeldt had some instrumentals with him, so he charged his laptop well, packed his microphone and Alogte drove with him through the savannah into the backcountry of the Frafra land. When they had arrived in Namoo, Max set up his studio and Alogte assembled the Sounds of Joy. The result was "Zota Yinne", which became Oho'sfirst single released on Philophon in 2014. For some reason the song became a hit in Reggae sound system circles and is already a very sought after collectors item.

The same year Weissenfeldt returned to Ghana from Germany with some fellow musicians to play an extended tour through Ghana alongside Alogte Oho & His Sounds of Joy and Kologo master Guy One (Guy One - #1, released on Philophon in 2018). During that tour he learned a dozen songs by Alogte. Following this, 2016 saw the release of the follow up single "Mam Yinne Wa". In the same way as the locally released version pushed Alogte to the top of Frafra- Gospel singers, this newly produced version made him a global player.

Mam Yinne Wa - God, You Love Me So. It looks like that somebody has heard him!

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

Lotus Eater is a duo consisting of Luca Mortellaro (Lucy) and Seth Horvitz (Rrose), techno artists just as comfortable operating in the uncharted area of experimental music who have gained a cult following, both influencing and challenging the direction of contemporary electronic music.

Eschewing the typical instrumentation of techno but still inhabiting its archetypes, Lotus Eater uses synthesised sound and feedback as fundamental sources to generate both textural and percussive elements. A sense of tension and weight emerge from sources that cannot be easily pinpointed. Each release forms a complex narrative from a paradoxically simple and restrained set of sound sources.
Officially formed in 2017, Lotus Eater came to life through several collaborations over a number of years, and finally blossomed with the release of its critically acclaimed debut album "Desatura," which Lotus Eater toured live in 2018 - 2019.

2022 sees the release of the second Lotus Eater album "Plasma" and a new audiovisual live project to accompany it. "Plasma" unfolds with exacting precision by exhibiting a point of focus and expanding on it. It uses a single, throbbing pulse to generate a constellation of sounds and rhythms that form around it like a volcanic eruption in slow motion. Playing with our sense of time and weight, "Plasma" feels simultaneously slow and urgent, spacious and immense. Lotus Eater zooms into the infinite abyss and finds not just light, but fire at the end of the tunnel. Will we be saved, or will we burn?

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that ‘Requiem’, their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced ‘Oh Death’ - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, ‘Oh Death’ is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious ‘70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. ‘Oh Death’ is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

“Who Do You Love The Most?” is the young trio’s third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album’s 10 songs are all Mulelid originals, except for a gripping cover of Judee Sill’s The Archetypical Man. Two of the originals are the trio’s versions of songs that first appeared on the pianist’s much lauded solo piano album (“Piano”) from last year. Kjetil André Mulelid (31) comes across as an exceptionally mature pianist and composer. The trio’s 2017 debut “Not Nearly Enough To Buy A House” received wide international acclaim, with writers most typically mentioning Keith Jarrett and Bill Evans. The praise continued for 2019’s follow-up “What You Thought Was Home”, with the Jazz Journal giving it a 5/5 rating and calling it “some of the most captivating music I´ve heard in quite some while”. All About Jazz noted the maturity of the work, feeling like coming from three well-seasoned pros. Mulelid grew up in the small village of Hurdal, and started playing the piano when he was nine, after hearing Chopin on the stereo. Later he did a bachelor degree in jazz performance at NTNU in Trondheim, blessed with top teachers such as Erling Aksdal, Vigleik Storaas and Espen Berg. He is also a member of jazz quartet Wako. Bjørn Marius Hegge (33) has been making waves on the Norwegian jazz scene lately, with his quintet’s debut album "Hegge" winning a Norwegian Grammy. He has his own trio as well, with pianist Oscar Grönberg and young drummer ace Hans Hulbækmo (Moskus). In 2019 he released "Ideas" with Axel Dörner, Rudi Mahall, Håvard Wiik and Hans Hulbækmo. Andreas Skår Winther (30) is, like the other two, a "product" of the fertile milieu at the Trondheim Conservatory of Music. His discography includes "Left Exit, Mr. K" with Michael Duch & Klaus Holm (Clean Feed) and Megalodon Collective (Gigafon). Tracklist 1. Paul 2. Endless 3. The Road 4. Remembering 5. Point Of View 6. The Archetypal Man 7. For You I’ll Do Anything 8. Imagine Your Front Door 9. Gospel 10. Morning Song

Rastafarianism came to prominence in the late 1960's/ 1970's and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid 1970's most, if not all the top flight singers were following the doctrine and growing their har to dreadlocks.
Everything was truly 'Dread'.
At the heart of this musical explosion was again Bunny 'Striker' Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid 1970's. The visual focal point of this new turn in reggae music would be a call to all things 'Dread'. Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place.
Heavy rhythms were created to match the heavy and serious lyrics and 'Versions Galore' as they say were coming out fast and furious.
We have compiled a set of conscious tunes that not only match the 'Dread' criteria, but also are just great tunes. The great Jacob Miller's 'Zion Gates', Cornell Campbells 'Two Faced Rasta', Horace Andy's 'It's Gonna Be Dread' alongside Linval Thompson's 'Never Conquer Jah'. Two timeless cuts from the 'The Abyssinians' get a fresh outing by two great singers, firstly Don Carlos' cut to 'Satta Massaganna' and the prince of reggae himself, Dennis Brown works 'Declaration of Rights' in fine style. Johnny Clarke's 'Man like Me' and 'Dem Say Rasta' still sound as fresh today as when they were first laid down and Wayne Jarrett's 'Live On Jah' and Frankie Jones 'Satta and Praise Jah' add to this great selection. All great 'Dread' tunes that were cut or voiced at King Tubby's giving them that extra shine.
So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, make you think.........

















Track 14 WICKED BABYLON - LINVAL THOMPSON

Folk Implosion's fan favorite album is available on cassette for the first time! They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion. Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's 'Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later. Tracklisting: 1. Blossom 2. Sputnik's Down 3. Slap Me 4. Chicken Squawk 5. Spiderweb-Butterfly 6. Had To Find Out 7. Better Than Allrite 8. Why Do They Hide 9. Winter's Day 10. Boyfriend, Girlfriend 11. Shake A Little Heaven 12. Waltzin' With Your Ego 13. Take A Look Inside 14. Start Again

‘Happiness, Guaranteed’ is about the cyclical nature of our modern dissatisfaction. It’s a brief dive into the frustrations our desires bring in our attempts to reach a level of contentment. Each song explores the pursuit of happiness within our relationships, our work, and our wealth all whilst finding ways to be content with what you have whilst balancing a desire to grow. Having come off the back of touring our first record Shadowboxer we were keen to get back in the room together and start writing new material. Traditionally we had taken the approach of writing sketches alone and sharing them with each other in the studio. We wanted to shake this process up and decided to rent a house, set up our instruments, and play freely together with no expectations, we did this over a couple of months. A lot of the music we made during those sessions felt like new territory for us and a move in the right direction. One of the first songs we landed on was MORE, which is based around a character disillusioned by their desire for consuming possessions. It’s a tongue-in-cheek exploration into how we’re sold happiness with what we can buy, something which we all really resonated with at the time -filling our apartments with furniture, buying gear, and settling back down into a post-tour life. Don’t Wait was another important piece of the puzzle. It’s a song that reckons with a break up and greeting the great unknown. It was a more joyous moment in the record, touching on the freedoms of growing up and having a better understanding of who you are and what you want in a relationship. The Trouble with Us was a similar exploration but focused more on the pain and frustration of a relationship ending. Throughout the record there’s this desire to arrive, to reach what we’ve been promised in life, a sense of completion and happiness.

Dickie Landry & Lawrence Weiner's Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.

The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one

"Viktor Marek is at home everywhere, even at home," DJ Booty Carrell recently remarked on his old companion. Marek is the outernational musician par excellence. When he's not working as general manager of the legendary Golden Pudel Club in Hamburg, he travels the world, meets people and records music with them. With his inimitable productions between HipHop, Acid and Dub, he has long been known as the "Madlib from the Waterkant" far beyond the borders of Hamburg! As a beatmaker and producer for artists such as Jacques Palminger and the Sufi Dub Brothers (Marek together with Ashraf Sharif Khan) and a lot more, he has already released countless great tracks and albums. Finally, he is going to release his first solo album for which he has invented the character Mr.Subtitle. A translator of cultures. An overcomer of distances. A humanistic spirit of research and comic hero who encounters many artists and cultures on the album "The lucky bag of Viktor Marek". Some of them are probably not even native to this planet. On the first hit single for instance, "Mr.Subtitle Theme", we hear Kurdish vocals by Hêja Netirk and Sicilian Rap by Don Colfit. Is it a piece about Palermo? Istanbul? Los Angeles? We don't know. But that's exactly the point! Mr.Subtitle overcomes national and genre boundaries in the blink of an eye and has created a kind of mission statement for the Fun in the church label with this work! Outernational music for interplanetary people. Truly.

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

Vinyl come packaged in a custom printed plastic casing, gatefold jacket, full color printed sleeves, metallic silver color double vinyl, 8-page LP lyric booklet, and free digital download card. While Southsiders is a celebration of the group's fortitude, it is also a deeply introspective, and sometimes conflicted, work. "It's a natural progression from the last record,The Family Sign, which was about growing my family," says Slug, now a father to three, who finds himself contemplating mortality. "I'm starting to think, 'What is post-family man? What am I supposed to rap about now?' I'm sticking to my roots, rapping about what I'm doing, what I think about. This record is, much like the other ones, a very detailed look at my life."

Super deep n’ rolling ambient junglist mutations from hyped cloakroom attendent Florian T M Zeisig and mysterious XPQ? operator PVAS, uniting under the NUG moniker for a highly atmospheric session beamed directly from that short-lived, elusive sweetspot in the mid 90’s when Omni Trio and DJ Crystl collided with Mo Wax’s Some Scientific Abstract Type Shit! and Gescom’s Disengage, all red lights dappling thru a dense fog of smoke.

Rinsed out under the timeless influence of “bong & sterni” - who sound like a legendary Berlin ambient duo, but are just weed and beer - Zeisig and PVAS collide in midair for a stereo-swirled recollection taking us back to 1995 - that Autechre radio show on Kiss FM, peak Mo Wax, Kodwo Eshun’s ‘club trax’ column, just before everything went fully tasteful. Throwing links to more contemporary refractions found on various J. Albert workouts as much as Skee Mask’s most vapourised breaks, the NUG sound keeps toes and heads off the ‘floor with a rugged but lush suite of rave suspension systems making critical use of negative space and recoiling dub dynamics.

One for the early hours of the club, ‘Not Many People Here yet’ gives acres of room to bounce off the walls, while the ruder ‘Filthy Club’ sounds like the backroom heard from ceramic tiled bogs, and you’re already healthily zonked for the zombie float of ‘Is Under The Blanket.’ The radiant pads and swingeing breaks of ‘Morpheus’ dial up Skee Mask’s most pendulous rave visions, and ‘Napping Under God’ rolls out on 9 minutes of webbed breakbeat for the locked-in steppers, with Florian’s ambient texturing fully coming into effect on the blurry-eyed flex of ‘Lite.’

Double LP, Gatefold sleeve, DL card with Bonus tracks. 2CD Gatefold wallet + booklet. Remastered and re-appraised 31-track collection of Pearls Before Swine rarities from the private tape collection of the late, great Tom Rapp. Also available as an expanded 45 track double CD collection. For the first time on vinyl, this beautiful collection brings together alternate versions of Rapp originals ‘The Jeweler’, ‘Translucent Carriages’ and ‘Rocket Man’. It also includes jaw-dropping covers of Rapp’s contemporaries Cohen, Dylan and Joni Mitchell, with bonus download material featuring seven amazing live versions plus a never before released intimate show at The Other End circa 1976. A goldmine of possibilities from a prospector with a silver tongue and stories to tell. ‘The Wizard Of Is’ is a weird and wonderful trip inside its creator’s mind, from sonnets and space hymns to stories of revolution and the war. It’s an American Gothic fantasy that straddles old tyme America and the outer edges of an imagined stratosphere. “Extremely influential.” Rolling Stone. // “A more intoxicating version of folk psychedelia.” Wire magazine. // “Shimmering folk hymns.” Spin magazine. // “Unabashedly poetic.” Crawdaddy. // Track listings: VINYL Side A A1 Where Is Love? A2 Butterflies (Alternate Version) A3 Love, You Are Not Alone A4 Grace Street A5 Translucent Carriages (Alternate Version) A6 Space. Side B B1 Rocket Man (Alternate Version) B2 City Of Gold (Alternate Version) B3 For Free B4 Wizard Of Is (Alternate Version) B5 Riegal (Alternate Version) B6 Sail Away (Alternate Version) B7 Footnote/When The War Began. Side C C1 Everybody's Got Pain (Alternate Version) C2 Crawling Towards Bethlehem C3 I'm Going To The City (Alternate Version) C4 Can't Go Back C5 Prisoner Of War C6 Another Time (Alternate Version) C7 If You Don't Want To (I Don't Mind) (Alternate Version) C8 (Oh Dear) Miss Morse (Alternate Version). Side D D1 The Jeweler (Alternate Version) D2 The Lincoln Dream D3 There's No Other (Like My Baby) D4 Roadside Hotel D5 Song About A Rose (Alternate Version) D6 Mary Mary D7 Crew Man D8 Suzanne D9 Oh Sister D10 Full Fathom Five/I Shall Not Care. Bonus download tracks: 1 Translucent Carriages (Live) 2 Island Lady (Live) 3 Morning Song (Live) 4 Marshall (Live) 5 Ballad to An Amber Lady / I Saw the World (Live) 6 Prayers Of Action / Candle (Live) 7 Rocket Man (Live)……. CD. Disc One: 1 Where Is The Love? 2 Butterflies (Alternate Version) 3 Love, You Are Not Alone 4 Grace Street 5 Translucent Carriages (Alternate Version) 6 Space 7 Rocket Man (Alternate Version) 8 City Of Gold (Alternate Version) 9 For Free 10 Wizard Of Is (Alternate Version) 11 Riegal (Alternate Version) 12 Sail Away (Alternate Version) 13 Footnote / When The War Began 14 Translucent Carriages (Live) 15 Island Lady (Live) 16 Morning Song (Live) 17 Marshall (Live) 18 Ballad to An Amber Lady / I Saw the World (Live) 19 Prayers Of Action / Candle (Live) 20 Rocket Man (Live)… Disc Two: 1 Everybody's Got Pain (Alternate Version) 2 Crawling Towards Bethlehem 3 I'm Going To The City (Alternate Version) 4 Can't Go Back 5 Prisoner Of War 6 Another Time (Alternate Version) 7 If You Don't Want To (I Don't Mind) (Alternate Version) 8 (Oh Dear) Miss Morse (Alternate Version) 9 The Jeweler (Alternate Version) 10 The Lincoln Dream 11 There's No Other (Like My Baby) 12 Roadside Hotel 13 Song About A Rose (Alternate Version) 14 Mary Mary 15 Crew Man 16 Suzanne (Alternate Version) 17 Oh Sister 18 Full Fathom Five / I Shall Not Care 19 Frog In The Window (Live at The Other End, 1972) 20 There Was A Man (Live at The Other End, 1972) 21 The Jeweler (Live at The Other End, 1972) 22 Another Time (Live at The Other End, 1972) 23 Every Change Is A Release (Live at The Other End, 1972) 24 Rocket Man (Live at The Other End, 1972) 25 Love/Sex (Live at The Other End, 1972)

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

The Person is back on the dancefloor and she brought the delicious Australian version of a good old Italian recipe - ITALOZ DISCO. Mouthwatering rhythms spiced with everyday hustle, cosmic boogie and the extra dose of synthesizer! Changing the Meatballs for Oddballs to worship the Magic $ properly. Sull' alto lato (aka on the B-Side) we're changing the Oddballs for the Mothballs as the one and only Hysteric warms up the magic ragout in his unique steam-powered kitchen. Now go to work!

You still need to be convinced? Take these great lines by Patrick:
"Magic $" beams into the discotheque direct from deep space; a shimmering body of squelching bass, nebulous pads and snapping percussion which hosts Minna's bewitching vocals. The arch delivery and vintage sequences flirt with kitsch, but that playful genius particular to The Person pushes this into wonderfully wonkier territories. Basslines climb, keys collapse and the whole thing chugs and bubbles through a flawless arrangement. We thought they didn't make them like this anymore, but we were wrong. Stepping in on remix duty, renowned (Moth)baller Hysteric turns out a treatment that's worth a million bucks, boosting the bottom end with an acidic sequence, supercharging the percussion and punching in some strange sampler fun to guarantee utter club chaos.
Every superhero needs a theme song, and "The Person" sees Minna step away from the dancefloor to deliver a synthetic ballad for lucid dreamers everywhere. Jamming on top of a malfunctioning Jomox, Minna channels chimes, piano and a gentle chug into the classiest chord progression this side of Mike Francis. Closing cut "Go To Work" gives us neon lights and nighthawks as The Person indulges in a little Antipodean electro, proving once and for all that Australians Do It Better.

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

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

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

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

Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. "DRIFT" is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre's past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, "DRIFT" draws on the raw energy inherent to `60s / `70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift?

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

Bari-based producer Frhanks visits Bucharest via Chicago on this organic and entirely distinctive EP for Lisbon label Welt Discos. ‘Bonus Beat’ is a raw blend of jazz and jack trax that leaps straight out of the Music Box to slap you round the face. The extended meditation of ‘Spring’ adorns a minimal groove with delicately plucked improvisation, striking a pastoral mood for the first glimmers of daylight. On the flip, ‘When Is Time To Go Home’ trips along like a late morning walk back to the tent, caught somewhere reassuring between reverence and whimsy.

Recorded live December 5, 1980, New West is proud to present a limited
edition Swamp Color vinyl pressing of Tony Joe White's Austin City Limits
performance
Featuring hits like the classic 'Polk Salad Annie' along with 'Mama Don't Let Your
Cowboys Grow Up To Be Babies'. This title will be pressed on 150g vinyl and will
feature an etched 4th side in tribute to Tony Joe White.

'While We Wait for a Brand New Day' is the third part of the Oddgeir Berg
Trio's trilogy around the dark hours of the day
The album was recorded under immense pressure. With only three days left
before Norway went into a lockdown, the trio headed to the studio and finished
the album in an intense session. Remarkably, the tone of these nine new originals
is hopeful and upbeat. If previous Oddgeir Berg Trio albums made you think of
ECM, the new one carves out a more personal sound.
Berg remembers the process as one of careful touches: "To me, it feels like an
evolving landscape. I have quite a few synths and effect pedals in my locker, but I
try not to overdo things." In conceptual terms, this is where the circle closes - now,
you can put on 'Before Dawn' and simply continue listening.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Released in August 2008, Peaceful, The World Lays Me Down was like a breath of
fresh air with its optimistic-yet-realistic worldview and, as The Guardian was to
note, its "twinkling acoustic songs, bursting with brass, keyboards and fiddle"
were "economic and brimming with sure-footed confidence." Its 11 songs include
the group's debut single and signature track, 5 Years Time, which was to become
their first UK Top 10 hit.
This re-issue is pressed onto high quality 180g vinyl.

With Maternity Beat, Hedvig Mollestad has surpassed herself, most significantly as a composer and arranger, and delivered her magnum opus so far. And with Trondheim Jazz Orchestra she found the perfect ensemble to perform it. They have a long tradition for collaborations like this, we can mention Chick Corea, Jason Moran and Marius Neset among many others. And as always, Hedvig truly shines as a guitarist. Maternity Beat is Hedvig’s third “solo” album. It was commissioned by Molde International Jazz Festival and premiered in July 2020, later the same year streamed at London Jazz Festival. The recording took place in Athletic Sound in Halden in October 2021. Since she received the festival’s talent price in 2009 and signed to Rune Grammofon the following year, we have had the great pleasure to release seven albums by her trio as well as two solo albums, all receiving wide international acclaim in both jazz and rock camps. To complete the circle, Hedvig has been chosen as next year’s Artist in Residence at the festival, a most prestigious institution in Norwegian jazz, held by John Zorn this year and initiated by Chick Corea in 2000 and Pat Metheny in 2001. Tracklist, all formats 1. On The Horizon, Part 1 2. On The Horizon, Part 2 3. Do Re Mi Ma Ma 4. Donna Ovis Peppa 5. Little Lucid Demons/Alfons 6. All Flights Cancelled 7. Her Own Shape 8. Maternity Beat 9. Maternity Suite