Keep Your Mind Alive is the LPH debut for Rydm Sectors, an Italian duo that bridges classic New York house and UK garage and lightens the resultant hybrid with well-placed sparkly synth work, jazzy drum fills, swanky piano licks. Nightclub music that’s been genetically modified to be just as functional and fun there as it is laying on a breezy beach, soft white sand your pillow, crashing high-tide waves reminder of the nature around you.
Featuring Sly & Robbie, Alpha Blondy, Marcia Griffiths, Horace Andy, Morgan Heritage, Gregory Isaacs, Inna De Yard, Alton Ellis, Ken Boothe, Jimmy Riley, and many more.
Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.
Rotciv is the Brasilian born, Berlin based man behind Mister Mistery records. This prolific producer has been out there for quite a long time and you might remember "The Rimshooters", the long lasting collaboration with Massimiliano Pagliara himself. Now it is time for Rotciv to offer a piece of his synthesisers' craftsmanship to Funnuvojoere Records. This five tracker EP expresses Rotciv's skills with harmony and music progression. A1 AWAKENING starts off with a piano house arpeggio and slowly evolves into a trance acid-tinged explosive motive. Organic feeling drums develop giving it a disco touch that will put a smile on the crowded dance floor. A2 GOOD SPELL combines a pure cosmic style with a New Beat-like dissonance and uplifting vocals. B1 KNOW THE UNKNOWN keeps the experimentation levels high with distortions and an 8bit dialogue that drifts into a progressive-kind of sound. Deeper than the rest B2 puts on stage a dark landscape that reminds of a black and white vampire movie. B3 INTERMISSION follows up and gives the final ambient touch to this delightful EP.
• John Power is the singer, songwriter and guitarist known as the frontman of Cast and
previously from the La’s
• Following the split from Cast, Power released three solo albums, his first solo album
Happening For Love (2003), followed by Willow She Weeps (2006) and finally
Stormbreaker (2008)
• This boxset houses all 3 albums on 180gm heavyweight white coloured vinyl with a
signed image by the artist himself
• Happening for Love and Stormbreaker are released on vinyl for the first time
WE R THE ALIENS is a fresh new label based out of Hamburg and Berlin. The label marks the start of a new chapter for Wareika’s beat machine Jakob Seidensticker, former Square Room Hero Boronas, and American house import Snad. Together, they are Mothership. The maiden voyage begins with this clubby three-track trip. Groovy technoid cut “Dubby White” sets the course, evolving into the spooky yet driving minimal house track “Melting” feat. Zhiqi Song.
Finally, Smallpeople round up the release with an uplifting House Remix of “Dubby White” perfect for warmer days.
Join us in welcoming the Mothership; the alien invasion has begun.
London's Axe On Wax crew have proven themselves to be highly dependable purveyors of good vibes.
French producer JLMT lands their Axe On Wax White series with a Jack J-ish mellow jazzed out house vibe.
Ep includes remixes by Laurence Guy & Real J. Therapeutic, feel good breezy house just in time for summer!
In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. Finders Keepers present the first-ever release of these vital archive recordings.
As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).
In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous
Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant
rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.
Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.
Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.
Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.
2026 Repress
Limited White Vinyl Pressing!
daniela will release her 2nd album on housewax - we are more than exited about the result.
so many good tracks - that's why we decided to present you an limited pre-sampler.
One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.
At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.
A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.
With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.
Social Lovers return to the dance-floor with a stunning white label release of "Lover's Flame / The Light" on Hobo Camp to close out 2018, following up their ltd 7" "Can't Get Enough". "Lover's Flame" is a mixture of street funk and freestyle, evoking classic 80s NYC synth feels, accompanied by Doherty's playful vocals. "The Light" channels soulful garage house feels, and keeps the vibe sensual, spiritual, and heavy. A true dance 12" with an additional 'Instrumental' version of the A side, and 'Keypella' of the B side, DJs are already banging these tracks out on systems worldwide.
Led by head-producer Matty P, and the sultry voice of Megan Doherty, Social Lovers are a collaborative group that sprung up from the desert of Phoenix, Arizona and soon to spread to both coasts. Now with their core members sharing home-bases in both New York City and Los Angeles, their smooth sound is best defined as 'street funk with a splash of class'.
Musique Pour La Danse is thrilled to present its latest "Collected" anthology, the label's most ambitious release since it released an extensive anthology of music produced by New Beat pioneer Ro Maron back in 2015. Side A is a reissue of the highly sought after Disdain EP from 1988 by White House White. Side B contains three previously unreleased tracks in a similar spirit to WHW's sound with a dark and sleazy atmosphere.
Book/ Cd/ 7''/ Flexi
There are still precious few women at the helm of record labels, let alone Indian women, but Vinita stands out as a proud anomaly... a champion of the underdog, an underdog herself, a surrogate mother to unsung musicians, a relentless workerbee, a fan, a carer, a catalyst...' (Richard Milward, from the Rocket Girl 20 book)
2018 marked the 20th anniversary of Rocket Girl, one of the most eclectic and resilient small independent labels in the UK, steered single-handedly by Vinita Joshi. To celebrate this milestone, in March 2019 Rocket Girl will release a very special collection of music and literature, comprising a 16-track CD compilation of Vinita's artists past and present, a collectable 7' and flexi disc, exclusive Anthony Ausgang print, full 20 track download, plus a strikingly illustrated 70-page hardback book uncovering the history of the label.
Based on extensive interviews with Vinita, with contributions from many of her bands (Füxa, God is an Astronaut, Coldharbourstores, Pieter Nooten), the book's text is written by Faber author and long-time Rocket Girl supporter Richard Milward. Beginning with Vinita's formative years in Rugby in the 1970s and 1980s, the story covers not only the eventful history of Rocket Girl but also Vinita's teenage initiation into the music industry: managing The Telescopes, founding Ché with Nick Allport out of the ashes of Cheree, before finally going it alone and setting up her own label in 1998. It is both an inspiring and bittersweet tale. Vinita's staying power alone in such a challenging industry is worthy of its own tribute: she has built a record label on her own terms from scratch, she has overcome the loss of loved ones, survived a breakdown at the height of her label's popularity, and all in all her immense love of music, her strength and positivity in the face of adversity blazes throughout the book. Along the way we learn of the hits (and why Kurt Heasley's vocal cords seemed to be malfunctioning during the Lilys' Top of the Pops appearance), the near-misses (including a never-before-seen letter from Richey Edwards of the Manic Street Preachers), the triumph of Vinita's first self-released LP A Tribute to Spacemen 3, her heartbreak losing Jason DiEmilio of The Azusa Plane in 2006, plus sad revelations concerning Television Personalities' Daniel Treacy's condition following his brain trauma in 2011...
Regular Rocket Girl designer Xiaofei Zhang has been given access to Vinita's vast collection of personal photographs, letters, flyers, press clippings and other keepsakes, arranging these alongside the text to give the book the feel of a technicolour scrapbook, a vivid chronicle of indie music past, present and future.
As Milward writes: 'The artists Vinita has worked with over the years are undisputed luminaries of alternative music, and stand up to any major indie label's roster: Spacemen 3, The Telescopes, Bark Psychosis, Disco Inferno, Lilys, Low, Bardo Pond, Mogwai, Cocteau Twins' Robin Guthrie, My Bloody Valentine's Kevin Shields, Patti Smith, Jonathan Richman, Television Personalities, to name just a handful.' Likewise, the artists featured on the accompanying CD compilation reveal just how far-ranging Vinita's taste is, and how loyal her bands have been to her over the years. The disc opens with a special 'Rocket mix' of Silver Apples' 'Susie' - the band that adorned the A-side of rgirl1, the label's first 7'. From here, there are cuts from Rocket Girl stalwarts like Füxa and Bell Gardens, as well as tracks contributed by friends and supporters of the label, such as Andrew Weatherall and Mogwai. Arguably the most notable track (certainly the most poignant) is the Television Personalities' 'All Coming Back', one of just a few unreleased songs recorded before Treacy's accident, and released here with Daniel's sister's blessing.
Vinita began her career selling Loop/Telescopes flexi discs on New Year's Eve 1988 and, in homage to this bygone format, she has included a 7' flexi (featuring 'Fight For Work', an outtake from Mogwai's most recent LP, Every Country's Sun) as well as a standard 7' bringing together rare tracks from two Philadelphia bands she has championed since their formation: Bardo Pond and The Azusa Plane. The three discs are housed in pockets found in the book's inside covers, and there are yet more gifts: an exclusive print by Anthony Ausgang (the instantly recognisable artist behind MGMT's Congratulations and Füxa's Electric Sound of Summer covers), plus a free download code for all tracks featured across the various formats of the collection.
Vinita's story is anything but ordinary, and this extraordinary collection is the most fitting tribute to the label's legacy so far: a treasure trove of rare tracks and unheard stories for Rocket Girl devotees, a comprehensive introduction to the label for the uninitiated, and both an inspirational chronicle and cautionary tale for anybody interested in the history of British independent music in the past thirty years...
Erol Alkan welcomes Joshua James to Phantasy for his debut release 'Coarse' featuring The Bunker NY producer Justin Cudmore on remix duties.
A fixture of London's dedicated queer club scene, James maintains a trio of distinct residencies, including XOYO, the notorious 'Savage' parties, as well as fortnightly on Rinse FM. On this unapologetic and upfront track, the DJ-turned-producer instantaneously captures the raw energy and sexuality that underpin his life by night, backed by a remix from a key figure in the US underground, Justin Cudmore.
Designed with sweatboxes and serious sound-systems in mind, 'Coarse' wastes no time in establishing its rude intent; hammering jack-bass, orgasmic cut-up vocals and larger-than-life synthlines flirt expertly from the off, before the track descends into outright sleaze in the spirit the of gnarlier edge of acid-house. Only a series of breathless gasps indicate you've safely reached the other side... A personal weapon for James each week behind the decks, as well as for Phantasy founder, Erol Alkan, 'Coarse' is a powerful dancefloor paean with only one (well, maybe two) things on its mind.
Having turned heads with his own uncompromising acidic perspectives on labels such as The Bunker NY, Phonica White and Honey Soundsystem, New York-based DJ and producer Justin Cudmore unfurls 'Coarse' in a trippier, deeper direction, nonetheless still bumping in a style that subtly recalls the peak-time sound of classic 90s NYC clubs like The Tunnel.
Four tracks sure to get some antifreeze in your veins, prevent you from turning to a brick of ice during this brutal winter.
Philip Budny is a Berlin-based producer who's making his LPH debut here with Somnambulism, an easy, buoyant grip of tracks that'll lift your heart to the heavens as they keep your feet shuffling. Starry-eyed house.
Packaged in a custom graph paper sleeve.
Our Favourite Bothy Botherers Mac-talla Nan Creag (comprised Of Hoch Ma Toch, Other Lands And Lord Of The Isles) Return To Firecracker Recordings, Channeling Ancient Rites, The Mysteries Of The Scottish Landscape And Its Elements Through Technologies Both Old And New For Your Listening Pleasure.
This Time Round The Archaeological Work Of Forestry Commission Scotland At Dun Deardail In Glen Nevis, And The Links Between That Site And The Ancient Celtic Myth 'the Sorrow Of Derdriu' Provided Fertile Ground For New Exploration And Response. Accompanying The Music Once Again Will Be A Lush Booklet Containing Some Of The Stunning Imagery That Results From The Work Fcs Have Done There, All Packaged And Silk-screened With The Usual Finesse We've Come To Expect From Firecracker Recordings And Their Chief Visionary House Of Traps, In Conjunction With 12th Isle's Al White.
Captured In Part In A High Vaulted Medieval Church, Then In Home Studios, Bouncing Ideas Back And Forth Over The Internet, Mtnc Have Once Again Drawn On Field Recordings, Traditional Instrumentation, Analogue Electronics And The Simple Power Of The Human Voice To Create A Shimmering And Expansive Song Cycle.
Whereas The First Album Was Borne Out Of An Intense Period Of Field Trips And Whisky Fuelled Jam Sessions In Brochs And Had A Loose Approach Overall, The Second Is Perhaps More Focussed In Its Themes Relating To The Ancient Tale - Love, War, Beauty And Tragedy All Intertwined - And They Arguably Go Deeper This Time, Conjuring Up Something Of The Fourth World Feel, By Way Of The Firth Of Forth.
With Additional Contributions From Professor John Kenny - Whose Primal Zummoesque Playing On A Range Of Horns Including A Giant Conch Shell And A Replica Of The Ancient Deskford Carynx Underpins Several Tracks On The Album - And Eva Sutherland (daughter Of Other Lands) Who Provides A Reading From The Myth At The Very Beginning, This Is An Album That Not Only Carries The Heaviness Of History But Also Looks To The Light Of The Future.'
Dark Entries is honored to release a 4-track EP by Swiss musician Carlos Perón, founding member of Yello. Carlos was born in 1952 in Zurich and began collecting music at a young age. Inspired after attending a concert of Karlheinz Stockhausen in the 1960s, he began to compose Musique Concrete pieces using a 4-track reel to reel and found sounds. In 1979 Perón founded the trio Yello with musician Boris Blank and vocalist Dieter Meier. Yello released their first album in 1980 and the following year Carlos released his first solo album 'Impersonator'. In 1983 Carlos left Yello in order to pursue a solo career and released the soundtrack to Die Schwarze Spinne" and 1984 his second solo album Nothing Is True, Everything Is Permitted'. In 1988, Belgian label LD Records released a 4-song EP of instrumental tracks from 1984 that predated, influenced and became staples in the New Beat scene.
Dirty Songs' is a collection of songs from Carlos Perón recorded between 1980 and 1986. The recordings were made with the core set up of an ARP 2600, Roland's Drumatix, TB-303 and TR-808. Nothing Is True, Everything Is Permitted (Instrumental)' recorded in 1984 is a slow burner with dark, gloomy atmospherics, presented here in an extended version with a bonus intro. The song was inspired by William S. Borroughs' Naked Lunch' and paints a bleak futuristic landscape. Breaking In (Instrumental)', from 1984, is a crossover of electronic body music and pitched down Chicago acid house featuring overplayed snares by hand though an Ovomaltine Box. Originally featured on the soundtrack for Die Schwarze Spinne', the song is about breaking into a large pharmaceutical company to steal drugs. On the B-side is A Dirty Song (Instrumental)', originally recorded in 1986 and released by Play It Again Sam in 1988. The song uses one of the earliest Roland SH synthesizers, the SH-1 A, as a solo instrument and is strikingly aggressive with percussive rhythms. Et' was recorded in 1980 on a 4-track and later and remixed to 8-tracks in 1984 for the Frigorex' EP, which is where this extended version comes from. Featuring eerie, cut up vocals and Dadaist lyrics by Isa Nogara atop a proto-Techno beat.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features a never before seen black and white photo of Carlos taken in 1988. Each album includes an double-sided postcard featuring the cover art from the Frigorex' EP. Prepare to make your own movie to the Swiss John Carpenter soundtrack vibes of Carlos Perón.
