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You might know Bert Dockx from the inimitable alternative jazz-rock-trio Dans Dans; or from his moody, psychedelic rock formation Flying Horseman; or from his more intimate but equally special solo records. In 2019, the ever productive guitarist released an album with Ottla, a jazzy sextet blending different genres, textures and moods in wholly original ways, resulting in long, evocative pieces, brooding with tension and atmosphere. Recently, the band has transformed into a quartet, a tighter unit with a sparser and slightly more electric sound. This new Ottla is playing a mixture of reimagined tracks from the aforementioned album, and several brand new pieces. Ottla's music - like all music for which Dockx is responsible - is imaginative, intense and deeply felt.

In the spring of 2021, actor and writer Josse De Pauw contacted Bert with a question. He wanted to perform work of the Uruguayan writer Eduardo Galeano on stage, texts about the madness of colonialism and slavery, and about the beauty and mystery of the jungle, and asked Dockx to come up with a live soundtrack. Dockx invited two friends from his jazz band Ottla (Thomas Jillings and Louis Evrard) and a fourth musician (bass player Axel Gilain). He composed new material, adapted some existing Ottla pieces and could count on the improvisational talent of his fellow musicians for the rest of the soundtrack. In a handful of rehearsals, an impressive concert was put together that captivated the audience during a short run in August. This live EP contains two pieces recorded on one of these blistering evenings. Side A opens with the authoritarian voice of De Pauw, who recites the Song of the Fire, before making way for a scorching, almost apocalyptic version of 'Stofwolk'. On side B we hear Thomas Jillings perform an impressionist clarinet improvisation while De Pauw conjures up images of the unlimited sea and the winds, ships and slaves, heaven and hell.

After meeting and working with Janko Nilovic - the extraordinary French library maestro - on a new album, while traveling and performing together around the world for almost 10 years, Igor Zhukovsky & Romeo Miussky - the multi-instrumentalist production duo, and rhythm core of The Soul Surfers - were inspired to make a record of free, spiritual, esoteric sounds which blended together on tape and made Sound Excitement happen.

Drawing on their experience as soundtrack composers and using heavyweight Soviet analog equipment, including a few vintage personal instruments belonging to some legends of the Soviet leftfield music scene, Igor & Romeo started experimenting with genre-blending music. The outcome of their recordings are a mixed bag of different moods and genres.

“It's something similar to a library record or more like a compilation of many different library records on one LP for a good decade if you know what I mean? It's the work which we're really excited about and excited to share with you! ...oh that's hell of a wordplay!"- I. Zhukovsky

Blue Vinyl

After getting glimpses of Denyl Brook's production prowess in recent collaborations with the likes of Shall Not Fade family members THEOS and Romeo Louisa, we welcome him to the groove-focused, dancefloor-oriented Killer Cuts series to which he delivers 6 feel-good house bangers in his signature funk-infused style.

If groove is the word, then Denyl Brook is your man. An incredibly prolific producer, in the space of his relatively short career the Marseille-born Silver Steps Records boss has been responsible for an impressive output, released via his own imprint as well as labels such as Basement Discos and House Cookin' Records.

Leaping Tenacity EP into action is the sunshine-dipped, serotonin-saturated "Baby It's You" which comes complete with a skippy house beat and syrup-smooth vocal licks before "Take Me Higher" takes things deeper, cool oozing from its funk-infused bassline. "His Name" takes us right back to the dance floor, where we will remain firmly-footed for the next two up. Arpeggiating synth tickles and luscious pads illuminate the aptly-titled "Bliss" before "Hear Me" awakens us from our reverie with a hard-hitting pulse and low-frequency acid melody. Finally, "My Friend Barry" sees the EP at its most stripped-back - deep house in its purest form: meditative yet steeped in sex appeal.

Debut full length album on the Valley of Search label by Mexican born, New York-based vibraphonist, marimbist, improviser and composer Patricia Brennan. The twelve original instrumentals that make up the album were composed and performed solo by Brennan on vibraphone and marimba. Employing unusual performance techniques and occasional electronics, many of the compositions were borne from improvisations created live in the studio at the time of recording. At times exploring silence and space, stillness and patience the album investigates new sonic territories with an endless sense of curiosity. "This album is a personal statement not only as a vibraphonist but also as an improviser and composer," says Brennan. "From bowing and bending pitch, to the use of extended effects via guitar pedals, this album reflects my vision for the vibraphone and the potential of all the possible ways it can be played. I wanted to not only incorporate all those techniques in the compositions but also wanted them to become part of my general improvisatory language." Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Alte Oper in Frankfurt, Germany, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina.

A fresh re-press of an Italo Disco club classic: My Mine - Hypnotic Tango. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed in 1982. Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out.

“Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 legendary DJ Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” named after Knuckles' club the Power House, the mix has added vocals by Frankie.

This reissue also includes the “Hypnotic Mix” released in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli.

Joe Bonamassa - 'The Ballad of John Henry' 2022 Remaster erstmals als farbiges Doppel-Vinyl

Provogue / Mascot Label Group veröffentlichen am 22.04.2022 drei spezielle Vinyl-Neuauflagen des Blues-Titans Joe Bonamassa. You & Me", "The Ballad of John Henry" und "Live from the Royal Albert Hall" erscheinen erstmals remastered.
Das Bonamassa Kult-Album "The Ballad of John Henry" aus dem Jahr 2009 wird erstmals auch auf farbigem Vinyl erhältlich sein. Das Album wurde für die 2 LP-Version neu gemastert und auf 180g braunem Vinyl gepresst. Als besonderes Bonbon gibt es mit der B.B. King Coverversion von 'Chains and Things' einen Bonustrack.
Bonamassas siebtes Studioalbum brachte ihn erneut auf Platz 1 der US Billboard Blues Charts und brachte ihm den Durchbruch in Europa. Mehrere Bonamassa-Originale zieren das Album ebenso wie Coverversionen von Tom Waits, Sam Brown und Ike & Tina Turner, die die ganze Bandbreite seiner Palette aufzeigen.
Mit mittlerweile 25 Nummer 1 Alben in den Billboard Blues-Charts, ausverkauften Tourneen und seiner Keeping The Blues Alive Cruise in Amerika und Europa, ist Joe Bonamassa allgegenwärtig. Diese Re-issues sind für seine langjährigen Fans und für Musikliebhaber, die JB neu für sich entdeckt haben. Diese drei Alben sind Joe Bonamassa vom Feinsten!

"Albert Pöschl ist seit fast zwanzig Jahren als Label- und Studio-Betreiber, Produzent und Musiker einer der umtriebigsten kreativen Köpfe in München." fasste DFL-Kultur treffend zusammen. Er holte den 90ern Bands wie Die Goldenen Zitronen, Tocotronic oder Die Sterne nach München und war maßgeblich an bedeutenden kulturellen Zwischennutzungen wie dem "Puerto Giesing" beteiligt. Mit dem Label "Echokammer" gehört er zu den einer der zentralen Münchner Szeneakteure. Die Diskographie liest sich wie ein Who is Who der Münchner Independant-Szene, mit Platten von Queen of Japan, Das weiße Pferd, Tom Wu, Kamerakino, Damenkapelle uvm. Nun veröffentlicht Albert Pöschl am Freitag 8.4 mit "Jason B.Sad / Jason B.Glad" das zweite (Solo-)Album unter dem Namen "Jason Arigato". Bestückt nur mit Akustikgitarre, Fuzz, Echo und einer speziellen Stimme ist diese Kunstfigur (ehem. Bassist bei Queen of Japan) nun schon seit 2010 aktiv. Das neue Album is voller bitterer, süßer & bittersüßer, wunderschön geisterhafter Songwriter-Nummern im Stil der alternativen 60ies, voll "analoger, wirklich zuckersüßer Lo-Fi-Ästhetik" (Groove) und erzählt von Isolation….

VINTAGE CROP serve to serve again. Over the last four years the Geelong group have become a burgeoning force in the Australian punk scene. Their burly, brusque yet supple songs have evolved from the garage rock of 2017’s ‘TV Organs’ album into the post-punk panic attack of last year’s ‘Company Man’ EP. Now they’ve sculpted their sound further, the barrage now offset with robust songwriting, their full-pelt bounce tempered with flailing guitar lines and sardonic commentary. Bringing to mind Wire tackling tracks from early 7”s by The Yummy Fur, it’s an inspired approach, both striking and effortlessly mirthful. Vintage Crop still dish-up plenty of commanding stomp, their lyrics remain as keen-eyed as ever, but now they’re unafraid to mess with the tempo and drive their point home.
‘Serve To Serve Again’ is Vintage Crop’s third full-length album. It was recorded by Mikey Young after a year of playing solid shows, including tours in Europe and the UK alongside Louder Than Death and URSA and some of the band’s biggest shows to date in Australia with Amyl & The Sniffers, R.M.F.C. and The Stroppies. This allowed Vintage Crop to nail the songs live before committing them to tape, pulling and pushing ideas, stretching them into new-found territories. ‘First In Line’ races off the blocks with its sawtooth riff and splintered beat, all jagged edges and ragged vocals. Quickly follow a pair of totemic bruisers in the guise of ‘The Ladder’ and ‘The North’, both brimming with a nigh anthemic quality, confident in their faculty to rouse the rabble. ‘Jack’s Casino’ is a lurching romp about gambling, ‘Streetview’ is similarly propellent, only choosing to meander and divert itself with cryptic trips around the neighbourhood: “He only moved to that side of town because the postcode is worth it’s weight in gold”.
There’s no better poised nod to frustration than ‘Gridlock’ - “the hustle and bustle of inner-city traffic is driving me nuts because the radios on static”. Guitar lines entwine and wriggle wildly free from the song’s pouncing rhythm and potent vocal, making for the most vigorous of rackets. ‘Just My Luck’ prowls with a shared thrumming verve, whilst ‘Everyday Heroes’ closes out the album with measured flair. Skewed and fervent, rangy at times yet always assured in its intent ‘Serve To Serve Again’ is long-legged leap for Vintage Crop into the delirious now. These songs strive to make sense of futility, they criticise the chain of command, question privilege and most importantly make us want more from life. Now all we have to do is turn up the volume!

White Vinyl

The Duo met on a rainy day in Tilburg (NL) while working for a dance project — they came down from very different roads. Fhunyue, a stage director–performer–musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colourful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven, an established musician living between Hamburg and Nairobi, who released several records on Honest Jons and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm and Stefan Schneider.

Their encounter quickly revealed that both their musical sensitivity and their instruments (Marimbas, Drums, Percussions, Electronics, Theremin, Buchla Synthesizer, Piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theatre projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven’s studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They are happy to present and share with you their labour of love, in hope that it will be good to your heart.

Limited to 750 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
Formed in post-Postcard Glasgow as Popgun, Kevin McDermott (vocals/ guitar), Davie McCormick (drums), and Ross Drummond (bass/vocals) were joined by Roddy Johnson (guitar/vocals). In 1983, they changed their name to The Suede Crocodiles and released ‘Stop the Rain’ on the NoStrings label.
Single of the Week in both NME and Melody Maker, this jagged-edged, spiky pop-punk single caught the ear of many. The Suede Crocodiles went on to tour the UK with Nick Heyward.
The band split before releasing their second single, ‘Paint Yourself A Rainbow’ with songwriter and lead vocalist Kevin McDermott going on to form the Kevin McDermott Orchestra and having a successful solo career.

“They were so solid. They meant what they said, they did what they did… here’s two guys, a guitar player and a harmonica player, and they could make it sound like a whole orchestra.” – Taj Mahal

“It was perfect. What else can you say?” – Ry Cooder

Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE, on Nonesuch Records.

With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo – joined by Joachim Cooder on drums and bass – the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.

Explaining where Terry and McGhee took him musically, Cooder says, “Down the road, away from Santa Monica. Where everything was good. ‘I have got to get out of here,’ was all I could think. What do you do, fourteen, eighteen years old? I was trapped. But that first record, Get on Board, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

Taj Mahal adds, “I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing. I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Taj Mahal and Ry Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992. GET ON BOARD is Taj Mahal and Ry Cooder’s first recording together since then.

Harmonica player Sonny Terry and guitarist Brownie McGhee, both originally from the southeastern United States, had active solo careers as well as collaborating with some of the most celebrated musicians of their time. But they were best known for their forty-five-year partnership, which began in 1939 and included mesmerising live performances around the world and numerous acclaimed recordings.

Their Piedmont blues style became popular during the folk music revival of the 1940s and ’50s, centered in New York City’s flourishing club scene for jazz, boogie-woogie, blues and folk music. Terry and McGhee traveled in the same circles as Woody Guthrie, Pete Seeger, Leadbelly, and Josh White, among others in a rich mix of writers, actors and musicians. As a new generation emerging in the 1960’s drew inspiration from folk and blues, Terry and McGhee toured the world as the foremost exponents of the acoustic music of the Piedmont. They were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments.

“You got the south on steroids, when you got the music of the south, the culture of the south, the beauty of the south, through Brownie and Sonny,” Taj Mahal says. He describes McGhee as a “solid rhythm player. To really play behind the harp like that. He would set stuff up. He wasn’t making many notes. Sonny had all the notes, running around. But Brownie, he laid it down.” Cooder adds: “This thing of squeezing the thumb and first finger and a little bit of the second finger, which I still do. I’d forgotten where it came from. That’s what Brownie did. I saw him do that and said, ‘I think I can do that.’”

Taj Mahal calls Terry “a wizard harmonica player”. Cooder says, “Sonny had incredible rhythm for one thing. Making sounds with his voice and the harmonica so you couldn’t tell quite which was which. He was good at that.”

“We’ve been doing this a while,” Cooder says. “Perhaps we’ve earned the right to bring it back. Taj Mahal concludes. “We’re now the guys that we aspired toward when we were starting out. Here we are now… old timers. What a great opportunity, to really come full circle.”

Clear Vinyl

Written and conceived by Stephan Crasneanscki, ‘LOVOTIC’ is a concept album by Soundwalk Collective, composed in collaboration with lauded actress and singer/songwriter Charlotte Gainsbourg. Featuring veteran techno stalwart AtomTM, rising singer/composer/performance artist Lyra Pramuk, celebrated actor Willem Dafoe, and writer/philosopher Paul B. Preciado, the album is released by the new Berlin-based Analogue Foundation.

Inspired by a relatively new field of research that seeks to explore and develop the possibilities of sexual and emotional relationships – and even love – between humans and robots, ‘LOVOTIC’ interrogates the impulses, ideas, and needs underlying this phenomenon. The project ventures into a future where sex, intimacy and desire are reformulated through the connection of humans, robotics, and artificial intelligence.

In an age of such hybrid entanglement with the machine, human identity requires the construction of new forms of intimacy, gender, and sexuality. At present, however, such technologies are primarily used to produce programs of limited sexual iterations that do not question the preformatted categories of gender and sexual orientation. In contrast, on ‘LOVOTIC’, Soundwalk Collective ask whether the future of sex and sexuality could instead be an exponentially expanding kaleidoscope. Where does the impulse of preference come from? What sets of words from our vocabulary can be communicated to the AI mind to generate a new identity for desire? Could the machine be another technology that brings us closer together?

Sonically ‘LOVOTIC’ is unidentifiable, artificial, and genuinely futuristic, occupying an amorphous androgynous netherworld at the borderlands between biotic and android. Traditional musical signposts are virtually non-existent, instead offering a mercurial, formless sound which mirrors the flourishing of gender fluidity it suggests could be on the horizon.

The production tangibly evokes the odd, rubbery textures of faux flesh, the slick virtual glide or glitchy mishaps of software, and the sleek shine of hardware. Gleaming sound design creates shard-like surfaces redolent of Alva Noto and Ryuichi Sakamoto’s ‘Glass’, the slippery stretched sonics Gabor Lazar, and the unsettling dark ambience of TOWERS and Hallmark ‘87.

At turns intimate and inviting, with whispering-in-your-ears ASMR vocals evoking blissful, heightened sexual states, within ‘LOVOTIC’ there’s optimism, but also unease; As well as the positive, it implies the negative ramifications of technology. At points a synthetic siren’s call appears to lure the listener to a darker place, with audio malfunctions suggesting dystopian science. Voices morph from gentle to distorted – a glitch in the system causing the mask to slip, like virtual lizards – ‘They Live’ or ‘V’ (?), for the metaverse age.

Here, Charlotte Gainsbourg invokes a being of unknown identity – an artificial eve, the oracle and the portal – speaking from an unspecified time in the future. The voices of AtomTM, Lyra Pramuk and Willem Dafoe weave in and out of Charlotte’s, often overlapping, merging into one another, expressing the entity of a being that’s ephemeral and in constant flux, oscillating between the natural and artificial. The record’s other bonafide singer, Lyra Pramuk’s delivery alternates between spoken word, operatics and partially- unintelligible language.

A multi-media project, ‘LOVOTIC’ also features the work of writer, philosopher and curator Paul B. Preciado – a leading thinker in the study of gender and body politics. Paul contributes a post-apocalyptic, quasi scientific and fictional text, which adds further fantasy, artistic and intellectual depth, augmenting the listener’s experience. Like all the best Sci Fi, his words seem prescient, describing what could become a likely reality in the future. Paul performs his written texts on the opening and closing tracks of the album; ‘The Age Of Mutation’ (in Spanish) and ‘Primate Love’ (in English).

Soundwalk Collective is an experimental sound collective helmed by Stephan Crasneanscki in collaboration with Simone Merli, which operates in a continuously rotating constellation of sound artists and musicians. The Collective’s approach to composition combines anthropology, ethnography, non-linear narrative, psycho- geography, the observation of nature, and explorations in recording and synthesis.

Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was played by a group of 11 girls with an average age of 14. The group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionists. This is her first ever record.

The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen.

The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis.

My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed.

The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial ice caps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded.

Sleevenotes also include a letter from Ron Forbes:
“I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”.

Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble

The Duo met on a rainy day in Tilburg (NL) while working for a dance project — they came down from very different roads. Fhunyue, a stage director–performer–musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colourful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven, an established musician living between Hamburg and Nairobi, who released several records on Honest Jons and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm and Stefan Schneider.

Their encounter quickly revealed that both their musical sensitivity and their instruments (Marimbas, Drums, Percussions, Electronics, Theremin, Buchla Synthesizer, Piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theatre projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven’s studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They are happy to present and share with you their labour of love, in hope that it will be good to your heart.

Co-produced with Metronomy's Joseph Mount, electro-pop artist TATYANA's debut album is a careful fusion of her classical harp training with her keen sense for pop production and songwriting. Inspired by late-2000s indie pop and Swedish pop auteurs, Treat Me Right is a sparkling, catchy collection of `80s synths and futuristic auto-tuned vocals. TATYANA has lived in Holland, Russia, Singapore, and Boston - where she attended Berklee College of Music on a full scholarship - before settling back in her hometown of London in 2018. The transient nature of her upbringing has certainly informed her music: from underground raves to viral YouTube covers to playing harp on tour with Neneh Cherry, there seems to be no scene that she doesn't thrive in. Last year, she released her thrilling debut EP Shadow On The Wall via Sinderlyn. The self-produced collection was met with praise from tastemaker outlets like NYLON, FADER, Office, Bandcamp, Line of Best Fit, and Crack, as well as an exclusive vinyl pressing with Vinyl Me, Please's Rising program. Treat Me Right is the irresistible product of these impressive first steps, the kind of precisely produced, impossibly catchy pop that takes other artists their entire careers to nail.

On ‘As Long As The Light’, Michael Rother (NEU!,
Harmonia) collaborates with the Italian musician
Vittoria Maccabruni.
 Vittoria Maccabruni creates predominantly dark
moods with her sound constructions, which then
create a reciprocal emotional play with Michael
Rother’s melodies and guitar harmonies.
 The result of this collaboration manifests itself
under the title ‘As Long As The Light’, an unspent
joy of playing in eight songs that also breaks new
ground with regard to Rother’s broad oeuvre,
which now spans half a century.
 Now available on vinyl.

Improvisation and experimentation are at the core of Robocobra
Quartet’s DNA, almost intentionally at odds with their roots as a
post punk band.
 Including members with no musical training alongside European
music conservatoire innovators, the result is a groove-driven but
cerebral blast, invoking the likes of Fugazi, Talking Heads and
contemporaries such as Squid and Black Country, New Road.
 The eclectic free nature of their live shows allows them to
channel hop from moments of joy and playfulness to periods of
intense fury, creating a unique sound that has earned them
invitations to Montreux Jazz Festival and Latitude.
 Robocobra Quartet have a rule: No Guitars Allowed. Their
unique sound, concocted and self-produced in Belfast, Northern
Ireland, sees that ‘middle’ space filled by other instruments such
as saxophones, samplers, keyboards and sound effects,
swirling around the melodic basslines and powerful drum
rhythms which prop up the core of each of their songs.
 On top of this music sits a single vocal from behind the drum kit
amid a fury of rhythm, sometimes marrying perfectly with the
pulse of the drums and occasionally at complete odds with it.
 Live dates / tour to be announced.
 “I genuinely don’t think there is another band like ‘em, anywhere
in these islands” - Tom Robinson
 “Free-floating musical explorers” - Hannah Peel
 “Fugazi meets Mingus.” - Drowned in Sound
 “Exploratory pioneers.” - BBC Radio 3 Late Junction
 “A cunning marriage of jazz, spoken word and punk” - The
Quietus

In 2022, Soom T is back with her new studio album "Good" entirely self-produced through her own label Renegade Masters.

In this new reggae-dub album, the result of ten years of writing, composition and production, the Scottish MC blends the studio recordings of her musicians, The Stone Monks, with digital productions from various composers. From this multitude of musicians and producers, an original sound is born at the crossroads of reggae, dub and jazz, even sometimes pop.

The tracks "Big Bad World", "Yes My People", "Born Free", "My Struggle", "Your Time" and "My Shelter" composed by the French producer Kiko, bring a distinctive digital sound to an important part of the album. While "Don't Stand for Dis" and "Steps" are signed by London dub legend Gaudi and pay homage to the early hours of dub music with great echoes and reverberations in the purest tradition of the style . "One Real Friend" composed by Alex Dupuis of Flash Hit Records brings a welcome swing and jazz touch.

“World We Live In”, “Our Day”, “I Wanna Live”, “Get the Fruit” and “One More Tune” were composed and recorded in Paris over several years with The Stone Monks, under the supervision of Xavier Waks. He also mixed the entire album in his 31DB studio before passing it on to Simon Capony for mastering at Basalte Studio.

As usual, Soom T continues to denounce nowadays political and social issues, all with a spiritual approach, an inimitable style and an incisive flow of her own. If she deplores the dark sides of our time in songs like "Big Bad World", she also tries to find a ray of hope with tracks carrying positive messages, sometimes very melodic, such as "Don't Stand for Dis ”, or catchy, like“ Yes My People ”. "I Wanna Live" and its heady guitar riff, "Our Day" with its bright major chords or even "Amazing Graces" pour a flood of optimism amidst much heavier themes.

On the cover of "Good" we find a portrait of Soom T, a microphone in her hand, designed by the French street artist specialized in 3D, Nikita.

Get ready for a unique musical journey in search of all that is good in this world with "Good", the long awaited new album from Soom T aka the “The Raggamuffin Queen”!

Fueled on pizza and the spirit of dance music, Chef Sam O.B. has lovingly cooked up four courses for our aural connoisseurs to enjoy: "Just A Slice."

Like any good pizza, it all starts with the dough, and "Making Dough" gets us right on track. Borrowing elements from house classics of the past, it rises on a jackin' groove complete with a funky fermented low-end and dashes of vocals from the chef himself.

"Le Sauce" offers a tangy burst of flavor atop our dough foundation; a sort of subtle and seductive palate that only the most refined of sauces can provide. Twists and turns await as the layers of seasoned live instrumentation unveil themselves (best enjoyed past dusk).

Next, as you might have expected, is "Cheezin'" - many people's favorite part of a pie. This one is sharp; bursting with mouthwatering umami energy and, like any good chef, O.B. has added just enough to leave you wanting more of the catchy interwoven melodies and rhythms sprinkled within.

Finally, it's time to grab a piping hot "Just A Slice" out of the oven - an amalgamation of all groovin' ingredients added thus far and the title track. A bubbling and elastic bassline pairs with the percussion of various textures and savory synth lines, combining for a well-balanced meal sure to keep your senses engaged.

A satisfying listen, "Just A Slice" would do, but feel free to indulge in multiple spins.

Edinburgh-based dance imprint Fresh Take Records launches their vinyl series Fresh Wax with a five-track VA including tracks from Easy Peelers, THEOS & Berzingue, Mr. Sosa, Aymeric and Bernado Mota.

Their first release of 2022 comes with the launch their new vinyl series with Fresh Wax 001: a varied and classic collection of tracks, many of which come from artists who have been involved with the label since day one.

Shaped by the currents of jazz, LaBlue - from his first name Sasha - multi-instrumentalist (drums, piano, bass and guitar) from the conservatory, meets Astrønne in 2019. A singer with a singular voice, she was spotted on the networks thanks to her soul and rnb covers.

A few months later, on the steps of Montmartre, the two young talents began discussing a joint project. Guided by their common love for neo-soul, the 21 year old duo started to produce several albums in 2020 between Rennes and Paris.

They draw their inspiration from the talents that have marked the last decade; Hiatus Kaiyote, D'Angelo, The Internet, Erykah Badu...

Together, they participated in a contest launched by the label Roche Musique during the confinement (March-April 2020) which they won thanks to their track "Keep it Smooth". This new signing will inspire their first 6 track EP "Blue Phases", released in May 2021."

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

LP, 150 copies with screen printed artwork Behind Teahouse Radio is Pär Boström… a Swedish ambient musician, visual artist, label/publishing house owner. Together with his sister (also musical partner in crime) he runs the label/publishing house Hypnagoga Press. Most of his music projects are released on this label. But his work has also already found its way to well known labels such as Cyclic Law and Cryo Chamber. Teahouse Radio is one of the many projects by Pär Boström and most lo-fi and to my ears the most melancholy… and thus fitting Vrystaete very well… In 2018 the debut album (and only album so far) “Her Quiet Garden” was released on CD in an edition of 100 copies on Hypnagoga Press. Here (and below) you have a really nice video on the process of the music and artwork being created… The songs themselves were composed from 2004 onwards with intervals and recorded in a few days during late summer 2016. This 2LP vinyl edition of “Her Quiet Garden” captures the delicate, fragile and minimalist soundscapes very well… and features three additional pieces from the same sessions which were never released before… Expect acoustic instruments that are blended with electronic equipment, forming a sombre ambient music of tinkling tape loops and humming pedal drones… like Gurdjieff meets Eno in some sort of way… And… it is also a very personal album and any listener who sits back and pays true attention will witness and experience this. This is what the musician himself says about the album: An album about summer houses and winter towers, about the changing of weather. How one feeling changes to another. The loss of a loved cat. A real garden becoming an imaginary garden. Depression as a pond. Years of therapy and music as the main counterpoint. About escapism. Psychoses. A giant who walked in and out of the world, decorating it nicely. An aural tale. Half in water, another half in the northern woods. Childhood through nostalgic binoculars. A wardrobe to another place, a gentle knock on the door in the oak tree.

Limited to 1000 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
The Bluebells have dug deep into their archive to give us the earliest recordings of these tracks, which have never been released before and are exclusive to this 7”
‘Everybody’s Somebody’s Fool’ is longer and more vibrant containing an extra verse and guitar solo which are not on previous versions. This is the closest recording to the one that was originally intended to be released on Postcard in 1981. The sleeve, designed by Bobby Bluebell features 2 of the earliest photos of the band.
THE BLUEBELLS were formed by songwriter / guitarist Robert Hodgens aka Bobby Bluebell in 1980. When deciding to form a group to start performing his songs, Hodgens remembered two punk musicians from Bothwell (brothers Ken and David McCluskey) he had interviewed for his fanzine, 10 Commandments. David (drums/ backing vocals) and Ken (vocals / harmonica) joined Robert and The Bluebells started performing live in and around Glasgow.
The Bluebells were soon involved in the burgeoning scene coalescing around Postcard Records in Glasgow (Orange Juice, Josef K, Go Betweens, Aztec Camera, Jazzateers), and it wasn’t long before The Bluebells were sharing stages throughout the UK with some of the Postcard groups. A single (Everybody’s Somebody’s Fool) was scheduled for release on Postcard, however after appearing on the
front page on Melody Maker and in NME / Sounds etc, major record companies started making serious offers to sign the group. The Bluebells appeared on BBC music program The Old Grey Whistle Test, the first unsigned group to do so, and it wasn’t long after this television appearance that the group signed a major record contract with London Records.
The Bluebells were soon in the studio working on songs for their debut album, with Elvis Costello producing. They were invited to open on UK tours for Haircut 100 and Elvis Costello & The Attractions, and started releasing singles to critical acclaim (Forevermore, Cath, Sugar Bridge). However it was their fourth single I’m Falling (co-written by Robert and Ken) that finally resulted in commercial success, chart success, and appearances on Top of the Pops.
The Bluebells released their debut album, Sisters, in 1984 to further commercial chart success, which was continued when their next single, Young At Heart, gave the group their second big hit single. However, when Young At Heart was reissued
in 1993, it reached number 1 in the chart for a month, making The Bluebells regular fixtures on Top Of The Pops

A Toolroom veteran of 15 years and longstanding member of the #ToolroomFamily, Dave Spoon (aka Simon Neale, or the better-known Shadow Child) made his label debut way back in 2005 with his 21st Century EP. Having released an incredible amount of music during his time with Toolroom, he is most known for his massive 2006 hit ‘At Night’ which saw a huge level of physical sales and massive radio support. Eventually being reworked with So Solid Crew’s Lisa Maffia on vocals, turning into ‘Bad Girl (At Night)’.

2012 onwards saw Simon shelve his Dave Spoon identity, creating the Shadow Child alter ego and his own Food Music record label. Having huge success with records such as 23, Climbing (Piano Weapon), Ooh Tune and his remix of AlunaGeorge – ‘Best Be Believing’.

He is a prolific artist and producer in his own right, having remixed records from high-profile artists Robyn, Paul van Dyk & Dizzee Rascal. As well as scoring multiple hit records under the Shadow Child moniker, the time is right to bring the Dave Spoon pseudonym back online. Taking form of ‘Steels’, a refreshingly new, fiery and fun party record that you won’t be able to get out of your head.

Legendary Polish Dance duo Catz ‘n Dogz are on remix duties for this one. The duo bring a refined, Disco-tinged, festival flavour to Dave Spoon’s summer hit, adding a slick groove with an emphasis on the insanely hooky records brass section. Throwing in similar elements such as the brass swells, melodic steel drum hits and the vocal cuts, Catz ‘n Dogz have created a remix that doesn’t stray too far from the original but lives completely in a world of its own.

A cut that has it all, Catz ‘n Dogz has nailed definitely nailed this remix by putting their own spin on the record whilst staying true to the originals fiery but fun feel. For sure, ‘Steels’ is a record you won’t be able to get out of your head.

After just over a year-long hiatus from the Earthly Tapes series – the 3rd Chapter is finally upon us. Offering more mind-altering tracks to the series, we welcome 6 new members to the Earthly Measures familia!

We kick things off with ‘Comets (part I & II)’, the first release by ORSO, the new musical project from Jean Dasso AKA Yeahman, stepping into club and drum music. Alongside faster rhythms, with influences of UK Break music, African dances and traditional instruments, we’re taken through a two-chapter journey led by modular melodic loops, old traditional voices samples and ORSO’s own recordings.

Up next is a trip to Argentina as we welcome Balam to the EM family, join him as he takes you on a daydream across the Latin-American rainforest where synthesizers and nature collide to create the perfect mix, guided by a voice from the deep jungle. ‘Ensueño’ is a dance-floor tool fitting for both the start and end of the night.

Japanese native Mamazu steps up the tempo for the third track ‘Tombi’. Transporting us to a hypnotic and hedonistic state as delightful aerophones sound with the exotic chant, delivering the feeling of a dry breeze from the unseen frontier. Another dance floor ripper!

The B-side starts with ‘Voces’, a track inspired by the music that Chilean artist DJ Raff’s mum listened to when he was a teenager making beats in his bedroom. He used to take her records and tapes to sample and make boom-bap beats. Voces is influenced by both Spanish and Chilean 70’s music, although deconstructed to make an amazingly catchy melody. .

Ditti takes us through an ever-twisting groove as we swim upstream, spot a wave and take off... welcome to ‘Poly Party’. The soundtrack to a carnivalesque funked out ballad on a Polynesian beach shifting between the rhythms of a guitar & riding the surf, cutting synths & dripping flows.

We wrap things up with ‘Small Town Rebellion’, a story told by Scottish producer Kusht – this downtempo chugger reflects the story of a young man in a dead-end town with no future. He needs to break his fate and carve his own path by revolting and manifesting his own destiny.

3x12"

Extraordinary musical talent returns with a deeply textured third outing on Blu Mar Ten Music.

Having made serious waves with the release of his debut album "Coeur Calme" in 2014 and the incredible 2016 follow up album "Zawadi", Kimyan Law steers his sound in a darker, more introspective direction with the twelve heavily themed set-pieces of his new album, "Yonda".

The album title, "Yonda", homophonically flits between a location in Kimyan Law's native Congo and definitions of something situated at a distance but still visible, foreshadowing the artist's move away from his typical uplifting palette into less playful territory.

While previous work seemed to be a personal exploration of joy-tinged melancholy, "Yonda", feels much more sober and pensive, infected with external events. In conversation with Kimyan Law the artist described one piece ("Krieg") as his "portrait of war", with the music moving through phases of violence, silence, panic, redemption and peace. Ever the allegorist, Kimyan Law relates themes of conflict and war not just to obvious geopolitics but also to his own physical struggles, and even an obsessive battle with the music itself, ("Yonda" has been more than three years in the making). In 2017 the artist wrote, "I've reached a point where I couldn't sleep because it bothered me so much... I have found myself unable to make any music except for Krieg".

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, incorporating ever more outlandish sources of percussion recorded from his natural surroundings and filtered through technology.

"Yonda's opener, "Jaardin", is deceptively gentle, with off-kilter rhythms and pianos providing fertile ground for Elyn's delicate singing before the whole piece careens off into what can only be described as orchestral proto-jungle territory. It soon becomes apparent that this placid introduction is misleading, with subsequent tracks fluctuating between pounding tribal beats ("Arboreal Epitone" / "Kin"), chilling orchestration ("Byo" / "Krieg") and rehabilitated jungle forms ("Seven Ant Foley"). A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements lovingly cloaked over the razor-sharp drum work.

Unusual conceptual themes litter "Yonda"; "Dor Rhythm" is about a Dung Beetle's journey, "Lampion" is about paper lanterns, "Nova" is about plant growth while "Kilele" is a song about peace, featuring Kimyan Law's own vocals in a new language he created himself, conjuring memories of Cocteau Twin's Liz Fraser.

While "Yonda" contains moments of incontestable beauty it can often be a difficult listen, an illustration of an anxious mind yearning for peace. An obsessive and intricate musician, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen. As ever, Kimyan Law has delivered a profoundly serious piece of work that expands the vocabulary of his genre. Despite the darkness saturating the work, a soft light still breaks through the window. It is the east, and Kimyan Law is the sun.

‘Dragon New Warm Mountain I Believe In You’ is a sprawling album exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchik, Buck Meek and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians and chosen family over four distinct recording sessions.

 In Upstate New York, Topanga Canyon, The Rocky Mountains, and Tucson, Arizona, Big Thief spent five months in creation and came out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up ‘Dragon New Warm Mountain I Believe In You’, a fluid and adventurous listen.

 The album was produced by drummer James Krivchenia, who initially pitched the recording concept for ‘Dragon New Warm Mountain I Believe In You’ back in late 2019 with the goal of encapsulating the many different aspects of Adrianne’s songwriting and the band onto a single record.

 The attempt to capture something deeper, wider and full of mystery points to the inherent spirit of Big Thief. Traces of this open-hearted, non-dogmatic faith can be felt through previous albums but here on ‘Dragon New Warm Mountain I Believe In You’ lives the strongest testament to its existence.

Trojan have pulled together some of reggae's finest moments here, and importantly they come from some of the genre's most vital female talents, who can often be overlooked in favour of their more visible male counterparts. Across four sides of vinyl the likes of Millie Small, Althea & Donna, Marcia Griffiths, Phyllis Dillon, and Susan Cadogan all deservingly feature and personal sleeve notes from musician Rhoda Dakar also add real value. Big hits, unknown rarities and some brilliantly wonky numbers like Sandra Robinson's "Sensi For Sale" make this an instant NEED!

This is a very significant 30th Anniversary issue of an iconic album from 1991. The Future Sound Of London broke boundaries with "Papua New Guinea", included here, influencing a whole new era of techno, ambient and electronic music. For the first time this album has been divided into four sides to comprise a double LP for higher end audio sound. There are only 1500 copies and each is individually numbered. It comes in a gatefold sleeve and includes new artwork exclusive to this limited edition.

Both the original single and album were a fixture on the end of year charts of many publications including Melody Maker, NME and Mixmag, whilst also achieving Best Techno Single at the Mixmag Awards in 1992.

The Psychedelic Freaks is a new alias of Horatio Luna's. The aptly titled debut LP 'Passing Through The Doorways Of Your Mind' is an introspective 70s fusion space odyssey.

An Afrobeat, Psychedelic jazz, funk fusion experience inspired by the Miles Davis's electric era.

Inspired by the genius of Fela Kuti, Miles Davis, Frank Zappa, Dave Holland, Paul Jackson, Carol Kaye, Jimmy Hendrix, James Brown, and Alice Coltrane.

Special thanks to Mandarin Dreams for putting a guitar in my hands and On-Ly for putting a wah pedal in front of it.

American thrash metal band Flotsam & Jetsam originally released their second studio album No Place For Disgrace in 1988. It was their first album release on a major label, Elektra Records. The band was led by frontman and vocalist Eric “A.K.” Knutson and have been active since the beginning of the Eighties. The band has been known with their current name since 1984, but started off under the names Paradox, Dredlox and Dogz.

No Place For Disgrace is produced by Bill Metoyer, who also worked for Slayer, Hirax and Morbid Angel amongst others. The album includes the popular titletrack, “Dreams of Death” and “Saturday Night’s Alright”. Three of the included tracks (“No Place For Disgrace”, “N.E. Terror” and “I Live You Die”) were co-written by Jason Newsted (Metallica).

No Place For Disgrace is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl

A surefire Afro-Funk classic, long treasured by collectors across the globe, the fantastic self-titled LP from Ghanaian singing/percussion sensation Sidiku Buari nevertheless remains a criminally hard-to find gem. We're honoured to present the first ever officially licensed vinyl reissue of this undoubted masterpiece. Limited to just 500 copies.

Originally released on RCA in 1975, this is, quite simply, a ridiculous record. This super-rare album boasts an all-star cast of top funk instrumentalists playing alongside Buari as he blends heavy African rhythms with American soul-funk grooves. The arrangements and the playing are incredibly tight and the album is stacked with killer tracks including "Advice From Father" (sampled brilliantly by Kenny Dope) and "Ku Ka Maria", with its intense, neck-snapping breaks and funky drumming from legend Bernard 'Pretty' Purdie. Purdie is in the pocket for the entirety of this stunning LP - the drumming is just straight out of hand; so varied yet so precise.

It's not hard to fathom why these tracks have always been huge on the b-boy/breaking scene. Other standouts include the wonderful disco-tinged afro monsters "Karam Bani" and "Iro Le Pa" plus the cool laidback groove of "Them Yebtheyet".

With access to the original analogue tape transfers, Simon Francis' stellar mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

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Constructed in the initial chaos of the pandemic, Baby Blue’s dystopian debut LP “End Of Sleep” finds solace in the unearthly home of Planet Euphorique. 7 offerings from the Canadian artiste dive deep into a heightened reflective state; an amalgamation of memories stitched together via looped dissonance and destruction. A contrast of lightness and dark constantly working against each other and at times in harmony; a familiar connection that can be found in complex electronic music and mental states alike. Strap in and be guided through a wormhole of cyber analog journeys, thematic explorations and catastrophic calls to celestial beings.

Ethereal echoes of LSG break in the opening of the record, fleeting cries nodding to ancestry; yet A Rainy Trip To Netherworld Sequence embraces the storm. Knee jerk kick distortions disrupt the angelic hypnosis; reality rolling through the clouds. The sequential energy continues through A2 and A3, driving and rolling viciously with heavy contorted noise infiltrating the low end whilst flickers of melodious song sail unbothered, thriving amongst the destruction. The Spring Is Coming feels like a seasonal change, a melting and defrosting; thawed harmony shining through; textural and flowing with movement, a perfect bridge.
An arguably more delicate chaos emerges on the B side, elongated pads stream endlessly whilst drums cultivate and expand into sudden frisson. Fragile voices begin to gate and sweep in Equal Parts Damaged, lingering and ringing through ear drums whilst glued in rhythmic unison to induce a state of floating, a game of elevated push and pull. Syncopated howls of distortion leads the closing track, Violet summarizing the brilliantly confronting conversations pulsating through the record.

PE016 urges you to join the otherworldly personal journey and sufferings of Baby Blue, a moment to connect with her meditative dreams and struggles; sonic synergy expanding to anyone with the invitation to surrender.

Jacob Gorensteyn is an Israeli saxophonist and producer. Born in the USSR in 1980, his family emigrated to Israel when he was a child, with Jacob picking up the saxophone soon after. A long time member and one of the creative forces behind the well-known Israeli brass band Marsh Dondurma, he co-produced all seven of the band's albums, as well as a solo effort that was released locally in 2006. Over the years Jacob became well known in the Israeli music scene both as a potent multi-genre session player and a mixing engineer and music producer, lending his sound to many recordings over the last 20 years. His main focus in his solo work is funky jazz music, being influenced by soul, R&B and funk music, mostly from the 60s and 70s.

Wooden House is one funky record. It began, as many records did at the time, with a recording session arranged to not feel as useless during the early days of the pandemic, at a time when planned gigs and sessions were falling like dominoes, and most, if not all, working musicians across the globe were in a state of mild shock watching their creative outlets, as well as their livelihoods, crumble away. Jacob assembled a group of friends – all powerhouse musicians, and all some of the most favorite people in the world for him to play with – into a recording studio. Just before the pandemic, Jacob moved away from the city into a little wooden house in a village located in the picturesque Yehuda mountains near Jerusalem. The new location prompted some creative juices in the form of a string of funky tunes, written in his new project studio on the 2nd floor of that very Wooden House. Three of those were the tunes he brought into the studio that day. None of the musicians assembled, including Jacob, knew what the music they came out with would end up sounding like. The music was worked out during the session and then swiftly recorded, all of it live, all of it energetic and groovy. Two more similar sessions followed in the following months, often being rescheduled because of lockdowns. What came out became "Wooden House", a funky, brass-heavy instrumental album, a fun, instant mood improver. Put it on and groove with us.The album was recorded in 2020.

If your inspiration is Herbie Hancock's "Head Hunter", or any of The Meters or The Apples albums – This one is for you.