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It’s hard to believe that it’s been over 30 years since Candy Dulfer rose to fame with her high-profile collaborations with Dave Stewart (the worldwide number 1 smash “Lily was here”) and of course the legendary Prince, whose tongue-in-cheek recommendation (“When I want sax, I call Candy”) in the “Partyman” video made the world sit up and notice the young, glamorous and talented sax player at his side. Candy has been fortunate to work - both in the studio and on stage - with some of the biggest names in music, including Van Morrison, Maceo Parker, Sheila E., Mavis Staples, Lionel Richie, Beyoncé, Pink Floyd, Chaka Khan, Aretha Franklin, and many others. Despite these high-profile collaborations, Candy mainly focused on her solo career, starting her own band at age 13 and touring the world ever since.

From Tumaco, in the deep pacific coast of Colombia, Plu con Pla carries forward essential styles such as Bunde and Currulao, which were created by the African diaspora in response to the realities of life in this coastal jungle territory. The musical language of the South Pacific region is traditionally interpreted with a marimba handmade from the wood of the Chontaduro palm tree and resonating tubes of Guadua (similar to bamboo), a large, two-sided bass drum called the bombo, two slender, high-pitched drums called cununos, and cylindrical shaker called a guasá, along with powerful call and response vocals. Plu con Pla brings a mastery of this language and repertoire together with an urgency of exploration and growth, incorporating hard-hitting urban styles such as Hip Hop and Reggae into their expression, and bringing Bass, Drum Set, Keys, and more into the mix. True to their roots, collective process and social justice consciousness is central to both their music and their actions, with lyrics that address hard themes such as racism and civil war, and a continuing commitment to teaching, leading workshops and accompanying the peace process in Colombia.

John William Coltrane belongs to those rare musicians who transform the stylistic universe of their generation. Coltrane was a genius, and without his contribution, jazz in the Sixties wouldn’t have enjoyed its freedom. He transfigured not only melody, and harmony, but revolutionised the entire spirit of jazz. Like a painter seeking to reproduce the richness of his mind on a canvas of only two dimensions, Coltrane restituted a personal mental universe in his music and never duplicated forms and patterns already used. The microcosm of jazz in the Fifties didn’t find Coltrane convincing at first, but his relentless effort and visceral desire to convey his own truth catapulted him to the summits and made him the undisputed leader of modern jazz. Coltrane’s music is a personal message, so I sit down and listen.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

The Only Way Is Up” has long been regarded as a dance floor anthem and with its uplifiting lyric couldn’t be more appropriate as the soundtrack to current times as we slowly return to a more normal way of life. It has taken 40 years for this magnificent, original version of the song to finally see a reissue and our thanks go to Otis Clay’s daughter, Ronda, for helping to make this possible.
The song was written by George Jackson and Johnny Henderson and originally recorded by Otis Clay in 1980 on his own ‘Echo’ imprint. Incredibly it was a non-hit at the time and came towards the end of a long and prolific career for the Chicago R&B singer. Clay had previously recorded for the Leaner brothers at ‘One-derful!’ before moving on to ‘Cotillion’, ‘Atlantic’ and ‘Hi’ (amongst others). George Jackson also worked as a staff writer for ‘Hi’, after a successful run at Goldwax, but it was while he was with the Muscle Shoals Sound Studio that he wrote “The Only Way Is Up” for Clay.
In 1988 Jackson hit paydirt when his song was reinveted by the dance duo Coldcut for Yazz and the Plastic Machine. It was an immediate hit and spent five weeks at the top of the U.K. pop charts. It also became a No.1 hit across Europe although barely scraped into the Hot 100 in the U.S.A. In recent times it has been used as the theme to the popular TV show The Only Way Is Essex.
But, of course, it is Otis’ ‘soulful’ original that we all want to hear and it is still packing the dancefloors across the country as witnessed at last years fabulous ‘International Soul Festival’ at the Blackpool Winter Gardens! With prices in 3-figures and rising its time to grab a bargain… “the only way is up”!

Lamaze is Geneva Jacuzzi’s 2010 debut—a full-length pressing of analog 4- track and 8-track recordings that document the development of her musical style from her first appearance in 2004 up to 2009. It is a selective introduction gleaned from a body of over 200 recorded tracks. The recordings from this period are largely synth pop songs that are typical minimalist constructions with dance floor tempos. Use of experimental recording techniques and varying arrays of equipment produce differing electronic atmospheres—soundcrafting in the spirit of Chrome, Devo, Cabaret Voltaire, and Gina-X. There is also an exploration of format in her playful use of alternating theatrical interludes and instrumental treatments. Lamaze is essentially a collection of demos, which is an atypical debut, but it is among the first lo-fi pop recordings that became the lexicon of the emerging music frontier, today’s “hypnagogic” jukebox—chillwave, bedroom pop, witch house, vaporwave, and more. The sound of the future, but the present of Lamaze is a world that has vanished. The collection is venerated as canon among her devotees and has become a coveted relic among fans and collectors of pop artifacts and rarities.

"Essential techno, essentially militant. A collection of pioneering electronic club hits and classic tech funk cuts with highly eco-political lyrics, produced by Michelle Grinser, DJ Naughty and featuring by Chicks On Speed. Chris Korda, is a transgender artist and tireless environmental activist who denounced 21 years ago the excess of capitalism and consumerism ("Buy", "Buy More"), exposed social inequalities and warned of the dangers of climate change".

Rarely does an artist pay homage to the classics quite like Dimitri From Paris, whose illustrious repertoire of original productions and remixes effortlessly capture the essence of the disco greats. After releasing his acclaimed collection of CHIC remixes on Glitterbox Recordings in 2019, Dimitri now partners with NYC singer-songwriter Fiorious, an artist who represents the dawning of a new era in dance music talent, to release ‘Music Saved My Life’ on the label.

With Fiorious’ previous Glitterbox releases including powerful call-to-resistance anthem ‘I’m Not Defeated’ and re-work of Aly-Us’ 90s classic ‘Follow Me’, his impassioned vocal paired with Dimitri’s meticulous production make for a perfect match. A celebration of music’s ability to provide sanctuary and liberate, ‘Music Saved My Life’ encapsulates the ethos of the disco golden era and its modern-day equivalent, Glitterbox. Beautifully brought to life by an international ensemble of over twenty world-class musicians, this is a truly exceptional release from a pioneer of dance, and a future star of the scene, that stands up alongside the disco greats.

Limited edition white vinyl. Two signature Average White Band funk bombs, much danced to and sampled across the years - but nothing beats the originals and the first time either have been pressed on 12".

The A side houses 'Pick Up The Pieces' an essential sax laden gem loved by hip hop producers the world over, for that melt in the mouth funk hook. The flip a cover of the incredible Ned Doheny anthem 'Get It Up For Love', featuring the mighty Ben E. King on lead vocals.

For Chris Tooker, the first decade of his artistic journey was immersed in bands while the second was engaged in wandering the realms of electronica in the form of creator, composer and engineer for DJ duo KMLN. Today, after many incarnations, Tooker returns to the source of himself while carrying both the treasures of his past and a vision for the future. Tooker has long been called to pursuing obsessive trails through the greater cosmos. On these journeys, he seeks particles with a hypnotic essence. Once found, he interprets this magic in his own special way, through the most universal language - music. His music tells stories of fascinating adventures through the dust, the palms, and the gritty streets of yonder. It is colorful, deep, and disco laced. It flaunts rare collected percussion (delivered live in his sets), various instruments and sometimes whispers a touch of voice. Now his solo-debut EP Nang’o drops on Acid Pauli and Nico Stojan’s label Ouie. For the lead track Nang’o, Tooker recruits the phenomenal talents of Kenya’s multi-instrumentalist Labdi. Labdi’s oruto (a western Kenyan fiddle instrument) and bewitching vocals provide the hooks for this subtle, shuffling track, presented here as both a full version and as an instrumental. Baladi features Shawna Hofmann both on co-production and vocal duties - this time a more driving, rolling groove develops with Shawna adding sultry, evocative vocals to the mix. Undone rounds off the physical release - another signature exercise in subtlety and restraint, as an infectious groove folds in bubbling synths, crisp percussion and dubby effects.

Dream Violence, Michael Beach’s fourth full-length, is an epic album that explores the duality of the human condition. Or, as Beach himself puts it, the album is about “human futility, passion, desire, anger, frustration, and the struggle to maintain hope in a somewhat hopeless time.” Dream Violence, then, addresses the existential crisis of being an artist in 2020.

Known for his work touring with the Australian guitar pop band Thigh Master and the late, brilliantly eccentric Israeli guitarist Charlie Megira, currently the focus of a number of reissues by the Numero Group, Beach is the architect of a sound that is both well-built and ramshackle, straightforward and indeterminably complex, out of the norm yet familiar in all the best ways.

Dream Violence unfolds like a revelation, filled with sonic tumbleweeds that reference Neil Young’s On the Beach, Bruce Springsteen’s Nebraska, the Velvet Underground’s Loaded, and the Go Betweens’ Before Hollywood. Influences ranging from the enigmatic outlier Megira to Glenn Branca to the Oblivians are combined to create a new, exhilarating sound, part of the path that Beach has been on since 2008’s Blood Courses. A veteran of year-end indie rock round ups beginning with Golden Theft in 2013 and continuing with Gravity/Repulsion, released in 2017, Beach distills the best of those early albums and adds sharpened intent.

Dream Violence works beautifully as a start-to-finish album. There are magnificent stand-alone moments: “Spring,” a raggedly building ballad that perfectly captures the ennui attached to new beginnings; “De Facto Blues,” a born-to-lose anthem that, says Beach, “is the sound of people totally at their wits end;” “Curtain of Night,” a simultaneously derelict and bright tribute to the late Megira, which sounds like it could’ve been cut at Muscle Shoals Sound Studio after the Rolling Stones wrapped up sessions for Sticky Fingers; and the delicately vulnerable “You Found Me Out,” which evokes equal parts Lou Reed and Joni Mitchell. On the latter, the lyrics “You found me out, on a ship at sea, you pulled me in, made a wreck of me,” encapsulate “the aimless of a modern world view in a future without hope and the draw/dependence of love in those times,” Beach explains.

Through music, Beach strives to convey both passion and compassion, energy and action. “My hope is that something gets communicated that makes people think outside of themselves or their surroundings,” he says. “To ask questions, and consider the effects of their decisions. To communicate some essential part of the human spirit that understands intuitively how to feel connected to each other rather than divide, exploit, separate, ignore, and all the other heinous shit we have the ability to do with each other.”

Recorded on two continents, Dream Violence documents Beach’s move from Oakland, California to Melbourne, Australia as he navigated a new music scene, plenty of bureaucratic red tape, and, ultimately, citizenship. Parts of the album were recorded and mixed at Tiny Telephone Recording in Oakland, at the end of a 2019 tour with Kelley Stoltz producing. Other tracks were recorded at Beach’s new home in Melbourne, where he could be “relaxed and sloppy in all the right ways,” and partially remixed at Phaedra Studios.

At the Memphis-based Goner label, Beach joins an increasingly unique roster of international musicians that reaches far beyond garage or indie rock to encompass artists like gospel singer Rev. John Wilkins, Kentucky rockers Archaeas, New Orleans iconoclasts Quintron and Miss Pussycat, and no-wavers Optic Sink.

Like it’s predecessor, the acclaimed ‘Joia!’, this album is a collection of songs sung in Welsh combined with distinct pop and South American flavours drawn from Bossa Nova, Cumbia, Samba and Tropicalismo styles, recorded in Rio de Janeiro, Caernarfon and London.

Mas feels strangely right for our times: an album whose title means several things, as befits its global outlook. Mas means “out” in Welsh, “more” in Spanish, and “but” in Portuguese: these meanings filling that single syllable with promise, potential, but also the subtle edge of a warning. It’s a mood that fits the more political tenor of Rio 18’s second turn around the world, as Carwyn and his friends explore some substantial subjects: the drowning of villages, climate change, migration and the rise of megacities. They do so not in sober, serious settings, but beautiful, uplifting songs. Other tracks also celebrate the vivid pleasures of love, nature and our essential humanity.

Mas is a record of beautiful songs that says, wait, listen, delight, come together, then act. We owe it to ourselves, to each other, to our beautiful world.

A
few years ago, All Is Well visited his good friend Martin Iveson in the UK for a studio session. A few tracks were written in the analog lab but one especially stood out. It was the then unnamed Cosmos. A kind of Jean-Michel Jarre vs Norwegian Cosmic disco melting pot dictated by the odd nature of the main theme from the Korg Monopoly’s weird Paraphony, and rhythmically sustained by the Arp
2600 Bass line. The track was left to sleep on a hard drive for a few years but never forgotten. AIW decided to bring it back to life during the first confinement in the Spring, stripping it down to its essential message. It was a natural decision to bring it to Prins Thomas’s label Internasjonal via a common friend in Ivaylo Kolev, the label manager. Remixes comes courtesy of exile Norwegian via Berlin Telephones and label boss Prins Thomas. Both Martin Iveson and All Is Well have been releasing music since the mid 90s under different names, Martin as Atjazz and All Is Well as Fred Everything.
All Is Well has been released on Drumpoet Community and Permanent
Vacation."

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

Cardinal Fuzz and Feeding Tube Records are pleased to announce ‘DATALAND’, a collaboration between Dead Sea Apes, Black Tempest and Adam Stone achieved mainly through internet data transfer during the Covid lockdown of 2020. Insistent, evolving electronic sounds encounter a variety of guitars and percussion, from the clockwork kosmische of 'Lost Hours' to the stumbling nosie dub of 'Shop Soiled', while Adam Stone's words meditate on life in the post-industrial west, our increasingly atomised and data-driven society and its logical conclusion in a corporatised dystopia.
'Dataland' is a meditation upon the average existence of a 'developed-world' human in the early 21st century. Whilst not struggling with the harsh physical demands of industrial labour as we did in the recent past, our plight continues to embody the melancholia and confusion of alienation. Under the bewildering complexity of rationalised social and economic systems, we may indeed have become unwitting prisoners within, what the sociologist Max Weber termed, "the iron cage of bureaucracy" - tripping the minutes away in a daily pantomime of data-driven surrealism. This six song collection is a fusion of electronica, monologue, 'real drums' and guitar, and was recorded at various locations in sad old England over the last two years or so. An almost psychedelic sense of puzzlement, nausea and fatigue accompanies being lost in the omnipresent number-generating machines and anti-human modelling systems that now run our world. This is the realisation that defines the essence of the album - that your life is now only as real as what is displayed on the screen of your constant technological companion.

The dusty streets of apartheid-era Soweto, 27 July 1987. The politically charged funeral of a young activist who fled South Africa to became a commander in the military wing of Nelson Mandela's African National Congress. Police await in armoured cars. The funeral is restricted by specific government decree.

The man being buried is Peter Motau, assassinated in neighbouring Swaziland on the orders of South Africa's most notorious government-sanctioned killer, Eugene de Kock, orders carried out by his secret police unit in a bloody ambush.

For De Kock and the apartheid government, Peter Motau was a terrorist. For the singing, chanting mourners at his funeral, he was a freedom fighter, a hero from the streets of Soweto itself.

ZA87 is a raw audio document of one extraordinary day under apartheid. A father mourns, himself breaking the regulations declaring any political statements at the funeral illegal. Young activists, the "Comrades", sing in praise of the banned ANC's military wing, sirens blare, helicopters hover overhead, a police officer orders all television and photojournalists to leave. Nigel Wrench's microphone remains. Also there is Winnie Mandela, on behalf of the ANC's exiled leadership. Banned from speaking at the funeral, she speaks instead into Wrench's microphone and stages a remarkable intervention as the police seek to detain activists.

The authorities sought to keep the events of that day away from the eyes and ears of anyone who wasn't there. ZA87 breaks that silence.

Nigel Wrench is an award-winning journalist whose career began in South Africa under apartheid. He is the winner of a Sony Award for "Out This Week", BBC Radio's first national lesbian and gay news programme, and a New York Radio Award for BBC Radio 4's "Aids and Me", chronicling his experience of living with HIV. "Few journalists have quite so intimately captured the essence of their era's great moral panics as Nigel Wrench" (The Quietus).

ZA87 is the follow-up to Wrench's acclaimed first cassette on The Tapeworm, ZA86, "a remarkable documentation of South Africa under apartheid in 1986" (Boomkat), "chilling and at times stunningly beautiful" (The Quietus), "stylistically not dissimilar to Adam Curtis's 2015 documentary 'Bitter Lake', its hypnagogic float through the rushes feels curiously vivid, free of the dating or distancing effect further media packaging might bring" (The Wire).

Eine neu überarbeitete ”Island Years”-Auflage des klassischen Bob-Marley-Boxsets, zum ersten Mal auch auf Vinyl. Mit Marleys vielen Klassikern von ”Concrete Jungle” über ”Redemption Song” bis hin zu seltenen 12”-Mixen, B-Seiten, jamaikanischen Singles und Alternates. ”Songs Of Freedom: The Island Years” erscheint als 6LP-Set.

Das 6LP-Set auf schwarzem Standard-Vinyl (180 g) enthält ein 20-seitiges Booklet mit seltenen Fotos,
mehreren Essays und Titelinformationen.

Sixteen years after their previous effort, in 2017 Nicola Conte met again his friend and colleague Gianluca Petrella, an encounter that led to the release of 3 EP's and this full-length album. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of "People Need People" drags us in search of deep music in a spiritual and mantric context, with a message of hope, aggregation and Universal Love. More than just a new album, it's a collective experience wisely directed by the duo, whose goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, "People Need People" proves to be even more essential and necessary.

With a name as bold as Junglepussy and an artistry to match, Shayna McHayle is New York's premier rap rule-breaker. Honest, funny, and freaky, her rhymes span from the explicitly audacious to the tenderly relatable. Her unfailingly confident flow accentuates her roots in Brooklyn (her parents are from Trinidad and Jamaica), and her bars land with cool impact. In the universe that is Junglepussy, relationships are complicated, vegetables are magic, and an excellently delivered flex on an ex is one punchline away. Jp4 is Junglepussy's stellar next phase. With contributions from vocalist Ian Isiah, rapper Gangsta Boo, and producers Dave Sitek and Nick Hook, Jp4 is Junglepussy ascended. After almost a decade of experimenting, Junglepussy feels she's finally living up to her name. The numerology of four, in its foundational symbolism, is an apt frame for Jp4. Over an eight year career, Junglepussy's music has led her to lecture at Yale and Columbia, create her own Junglepussy Juice, star in 2018 feature film Support The Girls, and embark on sold-out domestic and international tours. For Junglepussy, Jp4 is a culminating moment_one that holds the essence of closure while hinting at an exciting and expansive future.

A guitarry hybrid of AZITA’s edgy rock / soul / R&B sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you've never felt before. Life.
All instruments played by AZITA; the wackest, most AZITA-harmonious sounding pop album yet.
For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’.
The worlds of the previous AZITAs have left their unmistakable essence. Her singular conception of pop music - the idiosyncratic songs, singing and playing that have graced seven acclaimed releases - is in verdant recurrence on ‘Glen Echo’, blossoming anew, cutting sharply in the spirit and image of her everevolving, always questioning style.
Writing and arranging on keyboards since the time of her solo debut, AZITA focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead.
This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice - AZITA playing everything on the album herself.
Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, AZITA comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.
The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative... where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.
In ‘Glen Echo’ are a multitude of sounds - all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

With a name as bold as Junglepussy and an artistry
to match, Shayna McHayle is New York’s premier rap
rule-breaker. Honest, funny and freaky, her rhymes
span from the explicitly audacious to the tenderly
relatable. Her unfailingly confident flow accentuates
her roots in Brooklyn (her parents are from Trinidad
and Jamaica) and her bars land with cool impact. In
the universe that is Junglepussy, relationships are
complicated, vegetables are magic and an
excellently delivered flex on an ex is one punchline
away.
‘Jp4’ is Junglepussy’s stellar next phase. With
contributions from vocalist Ian Isiah, rapper Gangsta
Boo and producers Dave Sitek and Nick Hook, ‘Jp4’
is Junglepussy ascended. After almost a decade of
experimenting, Junglepussy feels she’s finally living
up to her name. The numerology of four, in its
foundational symbolism, is an apt frame for ‘Jp4’.
Over an eight-year career, Junglepussy’s music has
led her to lecture at Yale and Columbia, create her
own Junglepussy Juice, star in 2018 feature film
‘Support The Girls’ and embark on sold-out domestic
and international tours. For Junglepussy, ‘Jp4’ is a
culminating moment - one that holds the essence of
closure while hinting at an exciting and expansive
future.
First-ever physical release for Junglepussy.
Remixes / features / collaborations include Kelela,
Vic Mensa, Gabriel Garzón-Montano, Rico Love and
many more.

Johnny Cash had a birth certificate marked J. R. Cash because his parents couldn’t decide what to call him. Their environment was the recurrent poverty that reigned in Thirties America, a background of depression where J. R. went to work in flooded fields, learned music and sang along with other cotton pickers, picking up jobs here and there, and finally signing up for three years in the Army.

In 1954 he went back to civilian life, married Vivian Liberto, and went through the studio doors at Sun Records, where Sam Phillips recorded his first hits. In ’57 he joined Columbia Records and a decade later married June Carter (of The Carter Family) in 1968. The following years were complicated by drugs, alcohol and constant tours, yet the pair remained together until June passed away in 2003. Johnny Cash only survived another four months.

His original country music showed empathy for those who had been rejected, and his vision of the misery around him. But he also had an especially warm baritone, and it gave Johnny Cash an immense and faithful audience. He sold 90 million albums, confirming him as one of the greatest artists in music, all genres included.

Ridiculously rare & sought after private pressed 45 from Atlanta, Georgia, that hardly ever turns up for sale in its original issue. It features the seemingly widely unknown pounding modern soul dancer "I Wanna Take A Chance With You", an absolutely killer tune with stellar production and vocals from the talented Early. A side's "Who Are You " is an intimate and deep piece of soul music with superb songwriting techniques.


Featured on the playlists of very few crate digging DJ's out there, this 45 gets an overdue and legitimate repress in its original form. Essential! Born and raised on a small farm in the heart of Georgia, lead singer and guitarist Early Clover started his own band Early Clover and The Bosa Novas' at the age of 14. In1967,
he changed the band's name to the Middle Georgia Soul Drifters'. They became very popular locally and began being the backup band for such acts as Rufus Thomas, Joe Simon, William Bell, Jay Hines, Nancy Butts, and opening for such acts as Tyrone Davis, Marvin Sease, Clarence Carter, Betty Wright and Full Force. After the breakup of the group, Early Clover put together some musicians and went to Haywood Recording Studios in Atlanta, Georgia, and recorded Who Are You' and I Wanna Take A Chance With You' in 1977 to be a part of an album, but went on the road and didn't complete the album but performed the
song live a year and a half before releasing it as a 45 rpm single.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

Clive Phillips, Dominic Goodman, Peter Blundell are Mosquitoes, a somewhat inscrutable London-based outfit in operation for something close to seven years now, and have released music across a host of celebrated and broad-minded underground labels. Give or take the occasional interview in the less-straight parts of the music press, this is as much formal biography as their music has thus far allowed, for there's something essentially unknowable at the centre of what makes Mosquitoes what they are. So murky is their early history in fact, the first two self-released Mosquitoes records seemed to disappear from sight before really becoming visible. As more records have emerged, those first communications accumulate new meanings, acting as vital documents in tracking the evolution of a band who stand at the vanguard of contemporary British music.

The second of these records, recorded to tape in summer 2016 and first released as a single-sided 12" under the name MOS-002, is arguably the first true iteration of Mosquitoes. Now fittingly renamed Mosquitoes for its reissue as a dubplate-style 10" on World of Echo on 5th March, these five cryptically titled, shape-shifting tracks, see the trio embrace a near-genre-less fluidity, and in doing so express a unique combination of both freedom and intent. By design or instinct, Mosquitoes stand at their own inverted rock nexus, presenting a music that's turned inside out, and in doing so, music that twists the listener the same way.

In that sense, Mosquitoes plug into a long lineage of DIY savant iconoclasts, those outliers who would deny orthodoxy in order to excavate new languages and ideas - The Dead C, This Heat, the anti-formalism of No Wave, David Toop's General Strike. As such, Mosquitoes rely on a musical pluralism in order to take it apart - you must know how something is made before you reassemble it anew. Labelling this an EP may possibly underplay the breadth and ambition of what's on show. Later records would arguably be more cohesive, but what stands as particularly startling with this early work is their fearless and all-encompassing dive into the avant garde. Consider the anti-rockism of the scorched earth 90s re-imagined through a distinctly avant filter of free jazz and dub aesthetics. And it's the latter which perhaps shapes Mosquitoes most, dub the perfect vehicle for the articulation of such wilful anti-formalism. Make no mistake, this is music that's unafraid to be tough, to demand something of the listener and to not ask permission. And to bear witness to a rejection of formalism so aggressively pursued is to be reconciled.

Hailing from Sunderland in England’s industrial northeast, the Toy Dolls infused their take
on punk with ample doses of working-class humour, the three-chord format a launching pad
for witty originals and clever cover tunes. 1983 debut Dig That Groove Baby captures the
group at their finest, their twisted rendition of kiddies tune “Nellie The Elephant” topping the
indie charts; the title track is an infectious singalong, while “Spiders In The Dressing Room”
and “Glenda And The Test Tube Baby” are more irreverent tongue in cheek, all delivered in
the peculiar androgynous accent of frontman Michael “Olga” Algar. Essential!

Sealed original copies of the Horace Tapscott's 'The Tapscott Sessions' solo piano series, released on Nimbus West Records ‎from 1982 to 1984. Horace Tapscott has been one of the top "unknown" jazz pianists in the Los Angeles area since the 1960s, recording far too few sessions which has led to him being continually overlooked by jazz fans from outside L.A. During 1982-84 he recorded seven solo piano albums for the tiny Nimbus label, playing unaccompanied solos, his improvisations consist of deeply emotional exploration of his music. Tapscott has always had a strikingly original sound that, despite occasional hints at other pianists, is quite distinctive, falling between advanced hard bop and the avant-garde. Totally Essential.




Jazz, with its many iterations and forms, has always been a music on the move - its own changes and evolutions mirroring a flux in the perception of what is and was. This is all too evident when addressing its avant-garde realisations, particularly those rising across the 1960s and 70s - free and spiritual - musics which were both of their moment and beyond them - of a specific people, culture, social reality, philosophy, and political position, while transcending each. These radical sounds have rarely received the wide understanding, recognition, and appreciation in their own time. Thankfully, we have have hindsight. Historical Avant-garde jazz, springing from African American communities and taking seed in every corner of the globe, is increasingly celebrated for the seminal music is was and remains, but there’s still plenty of work to be done, especially when addressing the long standing rift in the United States which favours the east coast over the west.

Credited as one of the best late '60s German psych-rock albums, Bokaj Retsiem's ('meister Jakob' in reverse) Psychedelic Underground is an eccentric, soulful, acidn and fuzzy rockin' essay that clearly prefigures a part of the krautrock movement. Featuring Rainer Deigner, former guitar for the '60s beat German group Former Bonds, as the only credited musician and composer on this album (although other musicians assisted him on bass, keyboards, and that B3 Hammond and Leslie sound), this is basically Rainer's freaked-out tribute to his favorite children's song, 'Meister Jakob,' consisting in trippy instrumental sections, furiously savage E-guitar crescendos, amazing psych-rock improvisation, with just a hint of '60s US psych-garage. A real enthusiastic psych-kraut trip for fans of Vanilla Fudge, Hendrix,and Iron Butterfly.

If conceivable, imagine a collaboration between Brian Eno and Aphex Twin, both in their ambient periods, recording stock music for an Italian Library music label. If so, then behold Psycorama!, a collection of experimental music used to soundtrack a series of films and documentaries produced by the Italian filmmaker Roberto Rossellini. Composed by Mario Nascimbene, a name synonymous with the golden age of Italian film music, a composer whose grandiose scores of the 1950s and 60s defined the very essence of Cinecitta. While the widespread influence of these soundtracks is undeniable, it is beyond the commercial domain of the major studios where this compendium takes focus, revealing a deeper, darker and more complex composer. Forged on the 'Mixerama', a unique homemade sampling instrument, Nascimbene employed visionary techniques to deconstruct and render sound, sculpting pre-existing recordings into intense and evocative other-worldly soundscapes (most notably used for the 1971 existential TV drama Socrates and the 1969 Egyptian modernist film Al-Mummia (The Night Of Counting The Years). Previously unpublished except for a lone and mysterious Library music LP, the soundtrack cues are collected here for their first commercial release. Psycorama is a fascinating document of electro-acoustic music comparable to the beautifully dark music of fellow colleague Egisto Macchi. Including liner notes and rare photos.

Reissue of a rare Italian experimental Library LP.
Music used to soundtrack Roberto Rossellini films.
Pioneering sampling techniques and tape manipulation.
Brian Eno's Music For Airports meets Aphex Twin's Ambient Works II!

Revive the epic Arcade adventure with the Metal Slug 3 soundtrack on 2LP (Red/White splatters) and CD with booklets on both, officially licensed by SNK.

Following Samurai Shodown 2019, Wayô Records and SNK Corporation once again join forces to deliver an international edition of Metal Slug 3's original soundtrack, in honor of the game's 20 anniversary! Originally exclusive to Japan, this album is now available in this double vinyl edition.

With its distinctive "rock orchestra" sound, the music for SNK's series turned out to be as essential as the games themselves thanks to its uniqueness and incredible energy. Composed by the legendary SNK Sound Team, this soundtrack has a lot in common with the other titles in the series, but stands as the densest and most inspired. Filled with biting humor and explosive action, Metal Slug 3 is often regarded by fans as the best game in the series!

- Two vinyl discs, 33 rpm

- First Print Edition translucent red with white splatters

- Complete soundtrack newly remastered for the vinyl format

- Gatefold with a central wide illustration and two individual illustrated sleeves for each disc

- New comments from the game team

- Officially licensed by SNK

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

Generally speaking, albums are created over the course of a few weeks, months, or years. However when it comes to Airplane Mode, not only has it spanned the latter, but its DNA was formed across two continents, a multitude of significant life changes, and an overall renaming of the projects title.

What started as a collaboration effort morphed in to a sonic space that Tall Black Guy used to highlight questions many of us frequently ask, but struggle to answer; Why am I here? Am I enough? What makes me happy? How do I move forward? What does real love feel like? Although the answers may be different for us all, Airplane Mode sets the path that the listeners use to reach their own conclusion.

In closing, rarely does 40 minutes capture the essence of so many different facades of an artist’s process, and personal transition. As intimate as the album may be, Tall Black Guy leaves room for people to shape their own interpretation by what they bring to the listening experience. Airplane Mode demands your complete consideration, and is intended to be consumed without skips, or interruptions. In other words, sit back, relax, and put your mind in….Airplane Mode!

Ultra rare 1979 KBD-style punk rock from Piteå – a small town situated in the very north of Sweden. Rock Set are buzzing of small town boredom and fuck authority attitude. The name Rock Set was inspired by UK pubrockers Dr Feelgood’s Roxette -a few years before Per Gessle took the Roxette moniker to the top of the Billboard chart. “Piteå Kommun” never reached the Billboard chart but over time it has generated a cult following amongst punk rock aficionados all over the world. Original copies are nowadays changing hands for hundreds of dollars. A fact easily understood when hearing Rock Set’s perfect mixture of punk-, mod- and garage-rock.
In the late fall of 2020 OTD traveled to Piteå in order to find the members of Rock Set. A license deal was made and in true OTD fashion the sound recordings were remastered and carefully restored. Many photos from the band members’ private photo albums are seen on the printed inner sleeve. Liner notes by Peter Kagerland. Turquoise vinyl.
File under: ”beyond essential to any serious rock’n’roll fan”.

Country music has chased piety, poetry, and much else, but The Social World is unapologetic hardcore, beer-sodden country music reduced to its core values. No faking. No pretension.
Spare, unornamented, and straight from the heart, the songs on the “Social World” of Rodger Wilhoit are all that’s holy and true in beerhall country music. The instrumentation is only as full as it needs to be. The singing is careworn and deeply sincere. There’s nothing tentative or lukewarm in Wilhoit’s music. It isn’t going to meet you halfway.
It seems that there’s always more to discover. Most copies of Social World and Rodger’s singles were probably sold off the bandstand 40 or 50 years ago. They were among the thousands of records by local artists on local labels sold off local bandstands all across the country. Most ended up in garage sales, thrift shops, or landfill. But every so often, an artist will be resurrected, and find a new audience. Rodger Wilhoit is one such singer. At a time when most mainstream Nashville country music sounds so contrived and empty, it takes an artist like Rodger Wilhoit to remind us what it’s really all about.

Vampa were just kids, 13-14 years old, when they recorded and released their raw and very Iron Maidenesque 45 back in 1982. DIY all by themselves… The lyrics (sung in Swedish) is the ultimate hate for school-anthem. The boredom and frustration of (barely) teenage kids totally sick of school and its teachers has rarely been captured in a better and more enjoyable way. Even though the lyrics are in Swedish the language that grabs the listener as the needle is dropped into the groove is universal. Original 45 is near impossible to find. On The Dole Records found the members, got loads of rare photos that fills up the printed inner sleeve.
Comes with new original artwork by Swedish artist Oscar Nordblom, the guy behind the notorious Jobcentre Rejects-drawings
File under: ”beyond essential to any serious rock’n’roll fan”.

Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.

After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.

It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.

The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…

Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.

In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.

Founded by childhood friends Evan Stephens Hall and Zack
Levine, Pinegrove have already crafted three fantastic albums
- ‘Everything So Far’ (2015), ‘Cardinal’ (2016) and ‘Skylight’
(2018) - and achieved massive critical acclaim and a
widespread and devoted listenership. The band’s latest
album (and first for Rough Trade), ‘Marigold’, arrived in
January of 2020 and its themes of reflection and resilience
have resonated through an especially tumultuous year. Now
with tours cancelled and time on their hands, the band have
decided to put together something special for their fans.
‘Amperland, NY’ is yet another full album, this time
accompanying a feature film of the same name. The
collection features 21 brand new studio recordings spanning
Pinegrove’s career and catalogue, captured upstate in the
house where the band lived and recorded for 4 years - a
place they lovingly referred to as ‘Amperland’. But all good
things (and leases) come to an end and, before they bid
adieu to the space permanently, they gathered together for
one last performance with friends and family.
Featuring original member and keyboardist / vocalist Nandi
Rose (Half Waif) on many tracks - this collection will thrill old
and new listeners alike - with the band breathing new life
into fan favourites and deep cuts. From acoustic versions to
unique arrangements featuring piano, pedal steel and organ,
‘Amperland, NY’ touches on notes of folk and progressive
rock previously unheard on their studio albums. This will be
an essential addition to the Pinegrove catalogue and
encompasses all of the earnest and ecstatic live energy the
band is known for.
Double vinyl format housed in a heavyweight matte gatefold
package and comes with a fully annotated script and behind
the scenes photos from the film.

Detroit electro legend DJ Di'jital returns to TRUST with a second volume of raw and banging techno bass jackers. Injected with Juke, breakbeats, and a hefty dose of UR-style electric sweat music, 'ElectroHop II' is an essential weapon in the assault DJ's arsenal.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* We reach the penultimate Deep Seven No.9 that never made it to vinyl back in 1993. This is now available to own and settles the speculation over the missing 9th release that has accumulated for over 25 years. Ant Miles's last Hardcore production under the guise ‘Ironik’ comes in the form of ‘Feel the Feeling’. Uplifting original vocals feature over pumping basses and funk breaks capturing that ‘93 Hardcore vibe. The flip ‘Inspiration Station’ again features original vocals encompassing the Junglistic Hardcore flavours emerging from that era.

Jazz Against The Machine's (JATM) cool jazz covers of 90s indierock were essentials for those in the know: virtuosity and curiosities! Franksen's remixes take the souls of Loser (Beck), Under The Bridge (Red Hot Chili Peppers) and Come As Your Are (Nirvana) to a new future. Adding much extra love and detail: Vocals, dubs, deep beats n bass propel the songs to cosy or swinging heights. In jazzhouse manner, in soulful downtempo or grooving hiphop… give 'em some love!

Franksen delivers a mere lexicon of roots n traces. A wide range of clubculture scultpured his unique style over 25 years: djing, producing and hosting public dj radioshow "hr Clubnight". From Downtempo to Dub, Disco to Deephouse or Reggae to HipHop, Breaks and more.