quête:you re me

Listening to Angelo Repetto’s music, it leaves you with some kind of optimistic melancholy. There is always this touch of euphoric sadness in his melodies which he underlines with deep and heavy baselines. Kamiokande is the first release Angelo Repetto will present through his new musical home at Subject To Restrictions. The Zurich based producer is known for his live-sets he foremost performs for dancers in Zurich’s alternative scene. For this EP berlin Based Neu Verboten gave ‘Time Split’ a club-friendly retouch and delivered a strong Remix.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

IZIPHO SOUL are ecstatic to collaborate with Marlin McNichol’s Angel Dove Global.

Legendary 70s funk band Ripple return with their two original members - Curtis “Kazoo” Reynolds & Keith “Doc” Samuels - as RIPPLE 2.20.

For the first project, we present a brand new version of John Edwards’ ‘Exercise My Love’, this is no ordinary cover, check out the slick production and Doc Samuels’ incredible vocals!

On the flip we’ve gone as funky as we’ve ever dared to venture. A remix of Ripple’s signature song, with a fresh modern twist, that will ignite your record rooms now and dance floors soon!
Limited edition of 300 copies

IZIPHO SOUL are extremely proud to release, on a 7” single, the track dubbed as the ‘Soul soundtrack to the summer of 2020’

This two step vibe has everything going on: warm vocals, wah wah electric piano, strings, funky bass, rhythmic drums and congas.
Bonus 1: On the flip you get the previously unreleased IN THE NAME OF LOVE - a mesmerising SOS Band / Fatback styled groove.
Bonus 2: A FREE 'SOUND OF SUPERBAD BEER MAT' with every order in replica label design!

Limited edition of 300 copies

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

The third release on Tempo Dischi is 'Keep On Dance' by Contact Music, a little gem that is part of the Italo Disco history, but has characteristics of the early Proto House sound.

Antonio Cucaro, the Italian musician, songwriter and producer behind this project recalls ‘I started playing guitar very early. I drew my inspirations from the echo of Woodstock that came through the ‘Bandiera Gialla’ show on Radio Rai: emotions that were equal to true revelations when listening to Jimi Hendrix, Eric Clapton, Cream, Jimmy Page, Ritchie Blackmore (Deep Purple), Joe Pass, Alvin Lee, George Benson. Stimulated by various musical contamination, which came from rock and Italian authorial music, I started immersing myself into searching new exciting sounds, applying composition to various directions while trying to produce something new without worrying about genres or people's judgements, all without a compromise. I would not have imagined that one evening in 1983, 'Keep on Dance' would be born. It was produced together with three DJs who wanted a sort of opening track for their sets, putting together some sequences recorded by myself using percussion, acoustic and electronic drums (Linn, Oberheim, Simmons). The fact that after almost forty years it has been revived and considered a Proto House pearl really honours me. Composing music is like breathing pure oxygen: you compose, record and realise that you are already thinking about the next step to keep breathing’.

Double sider 12" including the bubblegum club track ''Let's Make a Deal'' by Linda "Babe” Majika, which was originally released on the rare 'Don’t Treat Me So Bad' lp in South-Africa, 1988. On the flip, you’ll find the deep late-night saxophone driven tune ''Step Out Of My Life'' which includes Don Laka on the keyboard and is produced by Ray Phiri, who also founded the popular South African group 'Stimela'. The song was originally released in 1989 and finally sees a reissue, pressed as a loud DJ-friendly 12-inch.

A wicked triple gatefold album... anthologic of the underground hardstyle newslkool crossing the old school road and finally pushing a superb talented

Multidisciplinary NYC artist Gavilán Rayna Russom launches her own label Voluminous Arts, dedicated to highlight electronic and experimental artists whose work challenges fixed categories of genre and categorization. Her aim is to create a platform for multidisciplinary work and events. The inaugural release being her second solo album as Gavilán Rayna Russom 'Secret Passage', following up last years 'The Envoy, an homage to the East Side Rail Tunnel in Providence, Rhode Island, and the friendships she made there.

In Rayna’s words:
“I grew up in Providence, Rhode Island in the 1970’s and 80’s. The booming jewelry and textile industries of the previous decades had pulled out by that point. The Italian mob ran most details of the day to day operations of the city. As kids coming up in that environment, before the internet, me and the people I hung out with didn’t know anything else and we worked with what we had to entertain ourselves. We found places that had been forgotten by market interests and made them spaces of creative community building. One of the most special of these places was the East Side Rail Tunnel. Running for almost exactly one mile beneath the city’s streets, the tunnel and nearby Crook Point Bridge were unsupervised autonomous zones where I tasted the possibilities of a world without surveilance. The tunnel was particularly important in my creative development because not only was it a marginal zone apart from monetized spaces of creative consumption, but it also had specific experiential properties. It had a bend in it which meant that when you got to the middle of it you were in complete darkness, and I learned quickly that when you spend enough time in complete darkness you start to hallucinate, which I liked. The acoustics were also remarkable; long natural delays and harmonic-reinforcing reverberances. Making any sound in there added layers of acoustic effects which made noises physical and fluid and, combined with the complete darkness, absolutely dissolved boundaries between internal and external experience. I started hanging out there when I was 14 and continued to return there regularly until development, gentrification and policing eventually made it inaccessible. By the mid ‘90s it was sealed off with progressively more impenetrable barriers. Nowadays it looks very different. This music is about some of the significant experiences I had in this beautifully neglected place and the people I had them with.”

Amnesia Scanner announces Tearless, the Berlin-based duo’s second LP. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw, the staggering scale of political recalibration and the worldwide climate crisis to come blows open old norms. This album reflects what it feels to experience Earth at a time when collapse is emerging as the prevailing narrative.


The musical scope of the record is expansive, with guest vocalists—the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA—descending into a vast uncanny valley of sound. Tearless follows the 2014 AS Live [][] mixtape, 2015 audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN).



“There’s a looming sense of radical change,” they note, connecting the present to a fin de siecle horror and curiosity regarding what new world is being ushered in. Someone called Tearless a “breakup album with the planet.” To which Amnesia Scanner responds, on the LP’s closing track: “Youwill be fine, if we can help you lose your mind.”


With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Listening through: Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track(the titular, Lalita-helmed “Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. At the album’s midpoint, Lalita returns for the beautiful, operatic breakdown of “AS Acá” (released as a single in 2019), before “Call of the Center” guides listeners through three club ready tracks—the grain-processed dembow of “AS Too Late” and “AS Going” with LYZZA, and then the ambientheadbanger “AS Labyrinth.” Closing “Tearless” is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

Classically trained experimentalist Aarp releases his compositionally expansive and pointedly political debut album via InFiné. ‘Propaganda’ is an album that rewards repeat listens and inspires research, pushing listeners to look for the truth beyond the headlines. The title ‘Propaganda’ is inspired in part by the death of a young man in Nantes who drowned following a police altercation at “Fête de la Musique” in 2019. Despite the fact that he was only dancing and there was clear evidence of negligence, the media campaign that followed cleared all involved and disinformation spread, distorting the truth and allowing French authorities to evade any consequence. This blatant and very recent example of press propaganda lead Aarp to explore a multitude of moments in history, each one informing a single track from his new record. Each song title is a direct quote taken from different examples of these moments, from George W. Bush to Margret Thatcher and French philosopher Gilles Deleuze to the infamous Oxycontin commercial by Purdue Pharma.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

Don Williams – The legendary Mojuba Don Williams is on fire. No holds barred GTA ride. The Chase. Run for your lives.

Cassegrain – Cassegrain places us in the eye of a mechanical storm. Valves bursting, pressure mounting, compensation needed. Avoid system failure.

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

Following up Batozsek’s four slices on Vol 2, Ecdisis Vol 3 is fresh and ready to wreak some havoc.

Some familiar names from the first volume of these series return for the third instalment as well as an otherworldly figure in the electronic music world.

Up first is Vinilette, returning after her excellent appearance on Ecdisis Vol 1. A brood of beats take hold for Vinilette’s rework of Flux of Pink Indians’ “Nothing Is Not Done.” Tribal, this rhythmic romp is inspired by the 1986 piece on Uncarved Block. Layers of kick drums, bongos and toms echo and

judder as a cold line circles and closes ever tighter. Following we have the head honcho, Juanpablo with his extended edit of Mac Blackout’s “Do The Dance In Your Head” which original version came out in Valencia’s imprint B.F.E. in 2011. The original song with its guttering guitar strings and nicotine

stained vocals, proves ample ground for the Frigio boss to work with. The intro is given room, adopting a doom disco march, before the fearsome crash of strings. The lyrics, a lurid tale brimming with menace, are sweetened with twirling notes in this grisly stomper. The final attack sequence comes care of Mick Wills with his amazing cut of an unreleased track by Argentina’s great producer NGLY. Dark and looming this distortion streaked encounter will leave bodies and speaker cones raw. Three edits with one central vision. This is music that cuts to the bone, these are tracks that continue

that intent first established by Ecdisis Vol 1. A collection with a serious impact, no doubt.

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 4 million copies globally and win a Grammy Award for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig for release on 26th June via Rhino Records.

The 14-track collection will be available on 180-gram black double vinyl package and was mastered (vinyl) by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”) and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

Originally released in 1980, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

Pressed on heavyweight 180g black vinyl, this album features the singles ‘Emotional Rescue’ and ‘She’s So Cold’.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

Ten incredible albums culled from the deepest, weirdest coop of record enthusiasts ever gathered under one banner. We’ve spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

The lost yearbook from Louis Wayne Moody High’s graduating class of 1967, chronicling the peaks and valleys of teenage angst, lost loves, and life after summer vacation. Fourteen moody melodies of surf kings, guitar Bettys, talent show psychers, and pre-S.D.S. soft- poppers. Walls of jangly guitars, maudlin organs, and melancholy harmonies deliver the bummer to ring in the summer.

Off the heels of a few successful digital compilations, newly found LA based label For The Heads proudly kicks off their vinyl series with a 4-track collaborative EP from Subtle Mind & mrshl. All 4 of these cuts bring freshness and originality to the ever-growing 140 sound and are a meticulous blend of styles given both of the artist's virtuosity and creative ability.

First, "Built The Same" sets the pace of the EP with luscious chords and a prolific melody all wrapped together by it's enticing low end. Next, the title track "Can You Hear It" is a weighty number focused on it's orbiting sub-bass and crisp percussion with a switch up that is sure to get any dance moving. On the B-side, an exceptional and unparalleled fusion of both modern synth-bass oscillations with the classical UK style groove and step of some jungle and garage is evident in "When The Rain Comes"; all of this pieced together nicely with a jazzy saxophone sequence. Rounding out the EP, "We're Alright Now" features a radiating, encircling melody that is sure to grab the attention of it's listeners with punching low end and soulful vocal shouts.

Emotional Rescue is proud to reissue a collection of global music band, International Noise Orchestra, presented across 4 special EPs.

Founded when Berlin based musician Ulrich Hornberg mixed a newly acquired Commodore 64 with visiting Algerian drummer Jol Allouche's tablas "old culture meets new technology" the fundamentals were laid. Simple, maybe naive, with a curiosity to combine and inspire. 'The means of production must belong to the workers', investing in a studio, label and publishing house allowed INO the adventure to record what they wanted, a project via 'gastes', taking their influences and culture, in a melting pot of eastern melodies, african percussion, jazz, soul, dub, and pop an orchestra not of size, but of different playing styles and idiosyncratic interpretations.

Old meets new starts with their cover of Gimme Your Lovin, taking Winwood's classic and molding a white funk, pop, rock, dance hybrid, with enigmatic actor / singer Richard Strange's distinctive poetic delivery. Following Dr. Sarmaz, released under INO's alias - Internationales Gerauschorchester - the global dance vibrations begin.

Feel It Flow is pure 80's dance pop, with Glynnis Thomas (Savage Progress) distinctive tones leading to the jazz fusion of Atai, before closing with the guitar / synth / tabla rhythms of Culture Rescue Service.

Trad Vibe Records is proud to announce the Cassettes of the three first albums by French Jazz-Funk band, Cortex: Troupeau Bleu, Cortex Vol.2 and Pourquoi, all originally recorded between 1975 and 1978.

This is the very first time that these 3 masterpieces will be available together in Tapes. This French Jazz group has become a cult classic for Jazz-Funk addicts worldwide. From the US to Japan and across the world, many are the stars of Hip-Hop, Rap and Electronic music, who have sampled the compositions of Alain Mion with Cortex. These 3 albums have become mythic collectable classics and a favorite for international funk collectors for years! Everyone will now be able to discover or re-discover this trilogy; and one of the finest and most representative bands from the French Jazz scene of the 70

yellow marbled vinyl / vinyl only

After a long wait we are happy to finally share the next release on Sleepless Musik and welcome Canarian artist Moises to our family!

A1. Circular
The title track is a dancefloor bomb, bursting with groove. You'll find it aptly placed on the A side, along with a remix from Sakro. The deep, rolling bassline of Circular takes similar form to previous Moises releases, a fast pace dance between low and high notes. Eery breakdowns signalled by spiralling synths accentuate the mysterious melody that dominates the track, before rave like chords creep to the forefront. Then with a cheeky hi-hat flick, the bass is back. The energy emanating from this one is enough to have a crowd going wild at peak-time.

A2. Circular (Sakro Remix)
The remix is a little more subtle, yet equally as suited for late into the night. The percussion overtakes this one with a deeper bassline. It becomes clouded with minimalistic growling and an echoing vocal, injecting the dreary trip we've got quite used to hearing in Sakro's productions.

B1. Homecoming
Flip the record over and the four-tracker becomes complete with two more of Moises' own productions, both of which retain that signature groove. Homecoming pulsates repetitive rhythms laced with chattering patter and choppy voice. A sweet layer to house the jabbing synth that follows for another dance worthy beat.

B2. Inside Out
Inside Out completes the set, representing a different approach. This feel good finale ditches the darkness and is instead full of dreamy high notes and percussive swing, making it the uplifting one of the bunch. It's fun, playful and full of life, perfect for celebrating those moments at the afters when the sun is up and so are the people.

Ambient and environmental Japanese scene has flourished stronger than ever in the last years. The pioneers of this sound and the creators of an innovative way of making and understanding ambient music, such as Hiroshi Yoshimura, Yoshio Ojima, Toshifumi Hinata or Takashi Kokubo have been championed and their works have been successfully unearthed by reissue labels.

Continuing in this endless path, Glossy Mistakes adds Takashi Kokubo’s brilliant “Volk Von Bauhaus” to its catalogue, with the Japanese masterpiece as the third official release of the Spanish label.

As most of 80’s Japanese ambient and environmental music, “Volk Von Bauhaus” is an audio impression designed to give a multi-sensory experience to the listener. An effort to make things audible, an exercise of understanding and soundtracking objects or situations. The main objective of this sound is to create an iconic musical landscape to accompany a specific place.

Though his name might be unfamiliar to many, Kokubo has crafted music that has impacted virtually all of Japan, from national mobile phone earthquake alerts to contactless card payment jingles. He was one of the first artists to create ambient music strictly through loops. As he mentioned when release this album, "this recording used no keyboard players, no multitrack tape recording techniques, no analog sounds”. A shift on the process of imagining sound.

“Volk Von Haus” is and ode to this ambient, new age and environmental music created in Japan throughout the 80’s. Throughout 9 cuts, Kokubo handcrafts his own sound and immerses the listener in a peaceful yet challenging adventure. The record is the first piece of his Digital Soundology series, and arguably his most interesting work due to the groundbreaking techniques he used.

"A revolutionary musical expression that shatters the old values”, explains Kokubo about this piece. And its just what we can hear when we play “Volk Von Haus”.

The album includes an unheard exclusive track by Takashi Kokubo an insert with an interview made by Takashi Kokubo. A true gem that must land in every ambient head’s musical library.

Remastered from master tapes by Frederic Stader.

Just as Al Green’s “Back Up Train” was pulling out of Grand Rapids, Michigan, for a whistle stop tour to the top of the charts, producer Palmer James began eyeing another Furniture City branch line: Tommy McGee. The result was 1976’s Positive-Negative , the creative apex in a career littered with endless bottoms. Gathered for the first time are McGee’s timeless album, singles for Golden Voice, Mercury, TMG, and Tosted, as well as the complete output of his nascent mid-’60s funk combo the T.M.G.’s

The Cranberries – Dreams

The Cranberries – Dolores O’Riordan, Noel Hogan, Michael Hogan and Fergal Lawler – quietly became one of the world’s most successful bands in the 1990's. With O’Riordan’s remarkable voice and their unforgettable melodies, the group scored a string of UK and US Top 10 albums and singles. This stunning collection brings together 11 of their best-known tracks, including their unforgettable calling cards, Linger and Zombie.

This compilation brings to vinyl the incredibly successful CD title which has so far sold over 100k units in the UK alone.

Re-Issue on Extreme Eating. Housed in a gatefold sleeve designed by Steve Lippert, mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. From Original Press Release 2015 "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." 1/Live Tonight 2/No One's Bothered 3/Bronx in a Six 4/Silly Me 5/Cunt Make It Up 6/Face To Faces 7/Arabia 8/In Quiet Streets 9/Tarantula Deadly Cargo 10/Rupert Trousers 11/Giddy on the Ciggies 12/The Blob

The late engineer and producer Paul C’s fingerprints are all over this single from Ultramagnetic MC’s, perhaps the defining release of their career. While earlier records gave notice of their strange and unique talents, they were loveably messy affairs. This, however, is the real deal, as polished as their early sound would ever be.

‘Give the Drummer Some’ grabs a fistful of different elements – from James Brown, Dee Felice Trio and James Brown – but bends them to its own purpose. This is a song with a momentum of its own and endlessly quotable lyrics. One of which, of course, was sampled by The Prodigy – huge hip-hop fans – for ‘Smack My Bitch Up’ in 1997. The now hugely rare 7” of ‘Give the Drummer Some’ edits this out to make it more radio-friendly, but this reissue reverses that cut, giving you the original lyrics. If anyone knows why Kool Keith also changes the word ‘rappers’ to ‘monkeys’ for that edit, answers on a postcard…

The brilliant B-side harks back to the time when every group had a song dedicated to their DJ. ‘Moe Luv’s Theme’ sees Kool Keith at his most straightforward, singing the praises of the turntable skills of Moe Luv. It would be throwaway were it not for the effortless repurposing of Jackie Robinson’s oft-sampled ‘Pussyfooter’. That – and the presence of one of the world’s great MC’s at the height of his powers – elevates it far above a footnote.

The Bees are a textbook case of the chew and spit cycle that was the late 80’s South African music industry. Although their unknown story is likely unique, it is just as likely that it is no different to that of many other young artists who dreamed of getting their music heard at the time.

By 1988, the independent record label was no longer as uncommon as it had been at the beginning of the decade. As the 80s went on, more seasoned A&R reps and Producers that had gained experience and connections from their work under major labels would be trying to cash in on a market they helped create. Without the need of big rooms or expensive recording equipment, the digital advancements allowed many Producers to open or work in smaller studios and promote unknown artists under their own imprints. They would then have their catalogs marketed and distributed by the same major labels they had been working for just years prior. This would open up the possibility of a new era of stars as potential talent no longer had to be pitched to major labels in hopes of them taking a chance on a new signee over their already established artists. With the market growing and a struggle to keep up with the demand for new sounds this agreement would allow the major labels to put new emerging artists or groups on their catalog with little investment and high reward if it happened to be a hit.

ON Records was just one of the independent players at the time. Ronnie Robot had just signed the unlikely trio The Bees in hopes of adding a hit group to his label roster that consisted of solo acts. Despite the debut’s fresh house inspired sound, it failed to catch on was outsold by the bubblegum disco the label was known for. Over the years unsold back stock and promos would build up with the distributor. Luckily this allowed sealed copies from the label’s catalog to survive into the 90s when the distributor’s stock was unloaded and picked up by legendary Johannesburg jazz shop Kohinoor. Here sealed copies of the Bees first attempt sat under appreciated for over 20 years before becoming a hot title after they started circulating online and became club staples. This is how the first album of an unknown group with no success was able to become a collectors item and earn a reissue over 25 years later.

With their first record behind them The Bees were ready move forward and get back into the studio. A suggestion from producers had the trio change camps and go work with the newly formed Creative Sound Recordings, the label that promised “Music for the Future” and ended up being an essential studio in the early years of Kwaito. They would work with producer Chris Ghelakis and guitarist George Vardas, while a young Marvin Moses sat behind the desk. Musically the sophomore album was as good as a follow up as you could get. Building on the first album, Mashonisa delivers catchy melodies backed by heavy drum programming that would score points with any Pantsula. The Black Box inspired “ Never Give Up” was one of two tracks chosen to be pressed as the promo for the album, hoping to trick listeners with their catchy version of the hit( A year later the label would release their first volume of Black Box covers sang by neo soul diva BB, it would be a great seller). The label printed up an unknown amount of these in a last attempt to push the release in Shabeens and on Radio. The cheaper route of flooding the market with promo copies would only pay off 25 years later when unplayed copies started being rediscovered and had survived the years in a quantity that original run of the full album could not. Once again it was clear that with no mainstream appeal, the quality of the music on its own was not enough to garner any success at the time. The album flopped worse than their first and failed to make it past it’s initial run, making it one of the harder titles to get from the CSR catalog.

Mashonisa would be the last attempt from the Bees. They would disappear from the scene as quickly as they appeared. Of the three members it is only known that lead Singer Solomon Phiri continued in music fronting a wave dance group before he mysteriously vanished in 1993, never to be heard from again. Through a combination of luck and circumstance the group, which is unknown in South Africa to even the most plugged in musicians, producers and radio hosts of the time, managed to finally get some of the recognition they deserved 30 years later. Unfortunately this small blip of fame would happen with none of the band members present to give their side of the story, or even aware of how their two albums became popular enough to be printed on different continents in a new millennia. The Bees suffered the same fate as countless other artists of the time, who thanks to emerging independent labels and willing producers were given an opportunity to have a short career, only to be replaced by the meat grinder of the music industry when they failed to produce a hit.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single Stretch, as the band had clearly captured something special.

Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (Flying Lizards, Pigbag, This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel, OMD, This Heat) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.

Station M.X.J.Y. kicks things off with Dancing On My Boomerangand promptly sets forth the blueprint for bands like !!! and The Rapture to capitalize on nearly twenty years later. In fact, those bands can only dream of the mix of driving percussion and spectral shards of guitar that Maximum Joy has clearly already mastered. Do It Todayannounces itself immediately with Rainforth delivering a looping and infectious vocal melody that the others dance around playfully, as handclaps keep the stomping groove intact, leaving a dancehall hit for outer space circling your turntable.

If you ever wondered what it would sound like if ESG and The Slits combined forces, Let It Take You There has the answer for you. Llewellin periodically delivers a cascade of marching band percussion while Waddington’s classic R&B riffs are transformed into a slithering snake trying to keep pace with Evans locked in groove as Rainforth’s singsong vocals are reduced to whispered echoes. They close out side one with the delicious slab of pop that is Searching For A Feeling. Clearly pronouncing the band’s intention to find the positives in a dire time for England, they look to rally those around them to focus on making real change in the face of opposing voices via one of Rainforth’s most delightful deliveries.

Side two sees Wrafter stretching out on Where’s Deke?, showcasing what had already been obvious, as he is the band’s secret weapon, often coloring each tune with his horns, sometimes in several styles just seconds apart. He underlines that feeling with the raucous and bouncy Temple Bomb Twist, before they hit a straight groove in Mouse An’ Me, like a dub infected Train In Vain. Well, if The Clash had ever allowed themselves to properly lose their minds on the dancefloor.

A funky afrobeat flute and guitar battle breaks out (way cooler than it sounds) before Rainforth rallies the troops to not only fill up the disco, but also the surrounding streets in political resistance to Thatcherism via All Wrapped Up. It is entirely genuine and their activism has none of the menace of the others in their scene, but rather a feeling of sharp optimism amongst this danceable masterpiece. It is that optimism that always set Maximum Joy apart, and makes their grooves all the more irresistible today.

Sadly, the upward trajectory of the band was cut short as Rainforth left the group, and soon afterwards seemed to stop making music altogether. The reasoning seemed destined to remain a mystery, until earlier this year when she gave a brave interview to The Guardian where she revealed that an assault by someone in the industry caused her to retreat entirely from music for nearly three decades. Luckily, Janine has embraced music once again, and she refuses to let the magic that was Station M.X.J.Y. be lost as well.

The Berlin based label Sonar Kollektiv has been waiting for it anxiously: Key Elements' debut album leads Jazz music into the new decade down-the-line. The music Key Elements create is fresh, merciless and ruthless and has always the finger on the pulse of the time. The album's eight tracks are all far away from Broken Beat nostalgia or Beatmaking nedism, they breathe inspiration from the young, thriving British jazz scene. Key Element's initiator, DJ and producer Marian Tone, built up a reputation in the Berlin hiphop, soul and jazz scene over the years (also as a co-founder of Beatkollektiv). With all of his compositions you always feel this heritage and his love and passion for hiphop. But the other two allys within ëKey Elementsû, drummer Waldi and the keyboard or bass player Jim Dunloop made their contribution with compositions and ideas as well. An album which was initially designed to be a mere solo project became an effort of a trio over the years being inherently consistent.

Lascelle 'Lascelles' Gordon - the driving force behind Vibration Black Finger – astonishes us yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form.

Having earned his chops as founding member of the Brand New Heavies, Campag Velocet and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future.

''Can You See What I'm Trying to Say' is a quote from Marion Brown, the great alto saxophonist' explains Gordon. 'The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen & Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on Law of the Universe) were recorded 25 years ago. 'Only in a Dream' and 'Empty Streets' are the only songs that were recorded live in the studio.'

'I was blown away by the New Life Trio 'Empty Streets' (from 1978) and was fascinated by the vocals' continues Lascelles. 'I always thought it would be great to cover this tune'. Such is the power of this song, it's used to open the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. While not a concept album as such, Lascelles has nonetheless conceived and presented Can You See What I'm Trying to Say to be heard as a complete listening experience, with each track blending into the next, resulting in a seamless expression of music.

Following 'Empty Streets', some instrumental interludes segue into a dimensional drift of beats, space synths, horns and electronics; there's a vocal reprise of 'Acting For Liberation', sung with gusto by Maggie Nichols, and then there's the album's momentous finale, 'Only In A Dream', which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world.

In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital and contemporary as anything he's done before, covering an incredible amount of musical ground in the process.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. And it all started with them coming home. By the summer of 2019, the Houston group_bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson_had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. In those years away from home, Khruangbin's members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey_a moment all the more beautiful for its impermanence. And it's a memory to revisit again and again, speaking to us now more clearly than ever.

May 1990 The Brand New Heavies released ‘that blue album’ and with it came a winning formula which would go on to earn them 16 top 40 hits and three million worldwide album sales not to mention two UK Platinum albums. Emerging at the heart of the Acid Jazz scene, their self-titled 1990 debut made an instant impact with audiences on both sides of the Atlantic and over the last three decades the band have not let up releasing enduring classics such as You Are The Universe, Midnight At The Oasis & Dream Come True to name but a few. To celebrate these thirty years we’re releasing a limited edition 7-inch vinyl, the first 7-inch release since Stay This Way came out in 1992. The 7-inch will contain the vocal performances of both Beverley Knight and N’Dea Davenport on Beautiful and Getaway respectively.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Celebrating live music and record store culture.

After having completed the first run of shows for their recent album "2066" through UK, France and Germany, the Mighty Mocambos did an intimate performance at world-renowned Groove City Record Store in their hometown Hamburg.
Not content with just playing stripped down versions of existing material, the band wanted to step up a notch from the "tiny desk" type concert idea and decided to record unreleased tunes for a vinyl single capturing the live energy and crowd atmosphere with analog studio techniques. After having warmed up with a couple of songs from "2066", a cheerful crowd in the packed shop witnessed the band tracking magic takes of unheard songs directly to tape.
"St. Pauli Second Line", an instrumental live favourite with simple but irresistant swamp funk ostinatoes turned into a frenetic call and response chant workout midway of the song. Singer Nichola Richards' tune "Keep It Movin'", a mainstay of the band's live repertoire for years, was cut with great energy, finally finding its way onto wax. "Something's Missing" is a brand new tune with a raw sister funk vibe - written and arranged for the occasion, rehearsed once and performed live for the first time in the version you hear on this record.
While many live recordings a are mere mix of crowd noise and neglectable renditions of well-worn tunes that are unusable for DJs and hardly appealing to the dedicated listener, THE MIGHTY MOCAMBOS - Live At Groove City au contraire is a treat for turntableists and a testimony of the spark that a well-attuned live band can light up, combining the vibes of a concert with the no-nonsense analog sound of their well-loved studio recordings.

Ella is the most celebrated of divas, and she dominated the jazz scene for over fifty years, from her first hit A-Tisket, A-Tasket in 1938 to her gradual retirement from the stage in 1989 due to illness. She left her signature on every jazz universe to which she contributed.

The Essential Works 1956-1959 throw light on her talents as a performer of the greatest standards, with songs written by Cole Porter, Irving Berlin, George Gershwin and Rodgers & Hart. Ella succeeded in making popular melodies her own, most often songs taken from musicals that she transformed into as many pearls of vocal jazz.

The four sides of this album bring together the indispensable inner soul of Ella Fitzgerald's recorded work.

Louis Armstrong is one of the most important jazz musicians. He belongs to those who transformed the local music scene born in the Southern States of the United States - around New Orleans - into an international language.

It was in the 1920's, in Chicago, that he recorded his first records with His Hot Five and His Hot Seven. His personality and his natural enthusiasm, combined with his talent as a trumpet player and singer, helped him pave his way to success.

He traveled the United States with his orchestra throughout the 1930's and the 1940's, and appeared on television sets from all around the world throughout the 1950's and the 1960's. In five decades, Armstrong's music had evolved into jazz music, then known as a familiar universal language, popular on five continents.

The four sides of this double album revive the history of jazz, from "Muskrat Ramble" to "Hello Dolly".

Neil Young has said this album is “the unheard bridge between Harvest and Comes a Time”, which perfectly describes the warm, semi-acoustic feel of these twelve songs. Originally intended to be released in 1975, the album has remained unreleased since then, and has a legendary status among Neil’s fans.

Seven of the songs are previously unreleased on any album, and different versions of the other five songs would appear on later Neil Young albums. Neil plays guitar, piano and harmonica on the album, and is accompanied by a stellar group of musicians including Levon Helm, Ben Keith, Karl T Himmel, Tim Drummond, Emmylou Harris and Robbie Robertson.

The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’ music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the brothers originally recorded their music in relative isolation in London in the 70s, 80s and early 90s. It’s only in recent years their sublime work has enjoyed a wider audience through an extensive run of reissues.
Arcturian Corridor ? presents a rare, previously unreleased piece of music from Woo – the expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that shows a new breadth and depth to the duo – detailed drum programming and a broader palette of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of the original has been embellished here with rich new passages that turn it into a kind of electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel decades of expressive experimentation between live band dynamics and machine soul on their version of the title track’s second chapter.

Josh Wink joins Ellum Audio for a stellar new single backed with a remix from DJ Seinfeld.

Josh Wink needs little introduction to fans, or even occasional listeners to dance music. The American DJ and producer has been one of the most enduring figures in the scene with a catalogue of music on labels like R&S, Strictly Rhythm, Nervous, Pokerflat, MNus and of course his own long standing Ovum Recordings imprint. As a DJ, he has travelled the globe since the mid-nineties, headlining festivals and clubs wherever he goes. What he has never done in his almost 30-year career is ever lose touch with the roots of underground dance music, something he demonstrates once again here with a standout new single for Maceo Plex’s label.

As Josh says, “Eric and I have known each other since the 90’s, when I would come to Dj in Houston Texas, and now so many years later, I’m excited to have my music released on his mighty Ellum imprint, including a great remix from Dj Sienfield”.

‘Feel’ is classic Josh Wink, near eight minutes of spacey, hypnotic dancefloor wonderment fuelled by syncopated percussion and arpeggiated bass which builds the tension before a spacious drop and meditative, spoken word vocal take the reins. Timeless and heartfelt this is a gem from the Philadelphia legend.

Remix duties fall to Sweden’s DJ Seinfeld, the lo-fi house pioneer and Young Ethics label boss who chops things up with a warped bassline, wonky FX and dancing synth lines to bring a brilliant alternative to the table.

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

You cannot say Nu Groove without saying Burrell. The seminal New York House label that existed from 1988 until 1992 was at the helm of a sound that was as much traditional as it was transitional. Since the closure of the Paradise Garage in 1987 and before the „NYC House sound“ was well-defined and fenced, Nu Groove was a kaleidoscope and an amalgamation of everything that informed it until then: uptempo r&b, reggae, dub, disco, freestyle, techno, jazz, and the sound that was embossed by Larry Heard in Chicago that was so well picked up in the Big Apple, you name it. Ronald and Rheji Burrell provided its basis, first floor and roof. But that story has already been told by our dear friends from Rush Hour, including its most important chapters. But we are going to tell a new one.

Rheji Burrell presents N.Y. House’N Authority & The Utopia Project. Twelve tracks split over two EPs on Running Back. Named „Out of Body Experience“ and „The ’V’EP“, it features all new music that feels like modern garments cut out of a classic cloth. Almost as if the Nu Groove would have never stopped. And that it is - at the risk of self-praise - all that old or new fans and also we could hope for. Two EPs full of deep-that-doesn’t rhyme-with-sleep house music, has simple, yet clever arrangements, features jazzy sounds, but snappy drums, merry melodies and glossy grooves. An overall joy to listen or dance to. The difference in both EPs is for the Burrell-die-hards and Nu-Groove-scientists to decide.

From Fresno, California, USA and formed by extremely young members "ALONE IN MY ROOM" album will be for sure in all
“best of post-punk 2020” lists. Their debut album contains up to 10 precious tracks. Opressing but releasing, melancholic and perfect in composition and produced with great talent and sensitivity.
A basic record for any darkwave lover in 2020! All tracks have been specially remastered for LONG CUT Vinyl by Daniel Hallhuber at Young & Cold Studios.

Producer and multi-instrumentalist J-Felix returns with his
future blend of boogie, p-funk, disco and soul on his
sophomore album ‘Whole Again Hooligan’. Influenced by the
musicianship of Roy Hargrove’s The RH Factor, James
Brown and George Clinton, Joe elaborates on the concept of
the record: "My mum used to call me a hooligan when I was
growing up which was probably quite accurate, but there's
something about finishing a creative project as a musician that
makes you feel whole again”.
‘Whole Again Hooligan’ features a plethora of guest talent
including Brighton producer El Train, vocal flair Jerry Clavier
aka Sol Goodman, soul veteran and stellar DJ – Emeson,
and classically trained musician Afua. The records magic
moments are catalysed through a collaborative ethos, a skill
honed on J-Felix’s debut LP '101 Reasons'.
Constantly soaking up a mind-boggling array of influences –
through touring internationally as Alice Russell and Swindle's
guitarist, being an in-demand DJ (holding residencies at
Patterns, Brighton and Queen of Hoxton, London), hosting
a radio show on 1BTN, supporting the likes of Roy Ayers and
George Clinton, the list is endless... through which J-Felix's
penchant for all things funk has been perfected.


“The spirit of disco is more than alive and well for this” – Mixmag
“This guy’s got it going on!” - Huey Morgan (BBC 6Music)
“A sublime journey through squelchy electro-funk, tripped-out neo-soul and woozy hip-hop beats” - NME
“J-Felix aka Joe Newman crafts a solid tune with smooth gliding funk guitars, an undeniable bassline that magnetizes the eardrums and hard-hitting groove to match.” – EARMILK
“Excellent.. So many reasons to listen to J-Felix’ music” – FIP
“Tru Thoughts’ rising talent” – The Telegraph

The 20th anniversary edition of Christina Aguilera's self titled debut album. Originally released in August 1999, the album spawned 4 hit singles, including the worldwide smash "Genie In A Bottle". A limited pressing picture disc LP.

After years of searching for the elusive sensation of heart-rending beauty, Avondlicht releases his debut album on 3 April, 2020 on all digital platforms. The LP will be out on 8/4.

Hyperromance is the culmination of an emotional and geographical journey, as Belgian producer Matthias Dziwak sought to find and examine idealised moments of true romance within the less-than-romantic reality of existence.

Having already achieved a great deal with his initial run of EPs for labels like PIAS, Fog Mountain and Unit Delta Plus, Antwerp-based Dziwak became obsessed with the concept of Hyperromance – “a moment or idea so heavily romanticised that it seems impossible to be really experienced.” The melancholic feeling it sparked in his heart set him off on a journey through Argentina, Chile and Uruguay, via a month-long stay in Amsterdam and finally to settling for six months in Portugal. Throughout this time he made field recordings and began writing pieces that would feed into the finished album. Along the way he found a full spectrum of moments that allowed him to view the world in a truly romantic way, from the majesty of the Andean mountains and the snow falling on the Amsterdamse Grachten to encountering love in Lisbon. At other times he found himself lost, adrift and heartbroken, pulled back to Earth, as is the cyclical nature of the human experience.

Musically, Hyperromance’s grapple with day-to-day reality and rose-tinted fantasy is embodied through the contrast between organic instrumentation and high-definition electronics. Dziwak began writing his songs as simple piano pieces, which then transferred to a staple of synths and sound processing as they became more wholly defined. Sonically, the sound sweeps from modern classical and bombastic electronica to evocative ambient, even touching on jungle and techno along the way. Rather than being defined by genre associations though, Hyperromance is shaped by the swooning beauty of its composition, as the music pulls you in and out of richly rendered moments of joy and pain following Dziwak on his personal journey of truth and beauty. With visceral life experiences woven into the fabric of the record, Hyperromance is expressive on the most intimate level. It’s a record that dazzles with searing bright wonderment and casts creeping shadows as the time passes – a journey as nuanced as life itself, elevated by romance and grounded by reality, beautifully told by Avondlicht.

Gigs vor 60.000 Menschen, 2,5 Millionen verkaufte Singles, vier Mal für die 1LIVE Krone nominiert, drei Mal für den Echo, 2017 den Echo in der Kategorie Dance National gewonnen, dreimal am Stück die Pole-Position der Airplaycharts: Die Karriere des international erfolgreichen DJs Alle Farben hat ihren Zenit noch längst nicht erreicht. Doch wie legt man einen solchen Senkrechtstart hin und schafft es, dass die Flamme immer weiter brennt?

Alle Farben ist ein Künstler, der vielleicht in Farben denkt. Ganz sicher aber nicht in Grenzen. Verschiedene Genres, Live-Musiker, Sänger, Orte: es gibt nichts, dass er sich nicht vorstellen kann. Er hat Shows im Dschungel von Thailand gespielt oder im Flugzeug über den Wolken. Ebenso legendär sind seine 6 Stunden Sessions. Der Name ist ein Versprechen: 8000 Menschen tanzen, während Alle Farben sechs Stunden ohne Unterbrechung auflegt. Unterstützung bekommt er von verschiedenen Künstlern, die er sich stündlich auf die Bühne holt: ob Sänger, klassisch ausgebildete Musiker oder unerwartete Instrumente Alle Farben liebt es, sein Publikum zu überraschen. Alles kann, nichts muss, aber eines wird es sicher nie: langweilig.

Überraschen wird Alle Farben auch mit seinem dritten Studioalbum. Sticker On My Suitcase zeigt einen großen, und inzwischen auch wichtigen Aspekt in seinem Leben: das Reisen. In den letzten Jahren immer on tour hat er gelernt, dass nicht immer das Ziel das Ziel ist. Und Reisen mehr als nur Fortbewegung. Unterwegs zu sein, ist genauso mein Leben, wie irgendwo anzukommen. Das Video seiner neuesten Single Fading drehten Alle Farben und sein Team in einer aufwendigen Produktion in Los Angeles. Wieder ein Sticker mehr auf dem Koffer, wieder eine Reise, die zeigt: Das Ziel ist die Reise selbst auf der Route Richtung Erfolg.

New technologies have affected the way we discover music. As much as I love crate digging, it was while browsing Bandcamp that I stumbled upon Baby Bye. The song caught my attention and as soon as I finished listening to it, I listened again and again, in what seemed to be an endless loop.
In my living room, images of a fireplace came to my mind, I was cozy while outside progressively turned into the landscape of Siberia. The unforgiving winter with its cold and darkness surrounded me, but I felt wrapped up in warmth and light.

I contacted Chikiss and invited her to play live at a STAUB. When I asked her if I could release her music, she offered to rerelease Baby Bye.
Being so in love with the song, I accepted instantly. When we started to work on the record, I realized I wanted to add something more, not just reissue a track. I feel sometimes we do not treat the things we love with enough respect. I feel fortunate to be given the chance to treat her music with the attention I thought she deserved in the first place.

That is why I asked Stanislav to remix the song. It may seem like an odd choice, but by doing so I brought together two of my favorite artists. This record means a lot to me and I sincerely hope you will appreciate it.

After a long absence, Imported Recordings celebrates his return and comes back to his first love, presenting "Volupté Amère", an EP featuring their vision of house music: a multifaceted music tailored to ambience crowds in clubs, vacationers at the beach, and family at home.

After releasing a last EP "Vague Aléatoire" in 2018, this new opus sounds like a return to the roots.



The EP offers a "guest" half with two tracks from the demos we receive during the year. The first one, signed Martin Alix, is an ode to the dancefloor that will bring together fans of powerful bass and strong beats. The second track, deeper, is signed by the Italian Steve Hammer, and shines by the efficiency of his extended break that quickly plunges the audience into a state of trance.



The second half is worn by artists from the big Imported family. The first one is a nugget that could already be described as a classic house signed Major League House, a melancholic track carried by a piano that takes you straight to your guts. Another talent of the house, Matthieu Faubourg gives us the pleasure to sign, just like MLH, a first track on the label. Evolutive and club oriented track, we recognize in "Swell" the characteristic paw of the French producer in this heady track which rhymes with rise in pressure and explosion.

Apron new signing “Quaid”
From South London to Outer Space.

~ Dreem Static: residual signal from machines in standby mode ~

Having conjured up a virtual paradise in his last release ‘The Technological Afterlife’ Quaid’s third long player ‘Dreem Static’ takes us on a machine-funk odyssey to inner space:

“Every good story has a dream sequence. Where the narrative gets deep & surreal. This is mine. I made all the music through this lens. I wanted the tracks to be connected thematically in mood - so there’s a thread if you listen all the way through. Hope u feel it. Sweet dreems.”

• Quaid 2020

Recorded & Produced by J.Quaid at ‘The Odyssey’ London / Metropolis. Additional synths from Alex M. Mastered by Jason at Transition.

"Lost Ark Music" proudly present to you another labour of passion "Praying for the Angels" by Pura Vida. 'The heart of the Last Ark' is beating on the riddim of the drums" ... Play it loud!

"Crawling" is about Puraman's personal struggle in life (...) trying to blend a stepping, jazzy reggae groove with some psychedelic stuff, Pieter De Naegel & Mathieu Vilain provide some "Last Ark Fyah Horns". "Song to Bob" is Puraman's tribute to Bob Marley, with a haunting Bassline provide by Aston "Familyman" Barrett, Orginal Wailer (...) His son Aston Barrett Junior hits the drums like Lightening!

"When the right time come" was recorded in an oldschool fashion, Recording the riddim in one take (...) Puraman on Vocals and Guitar, Boris Perck on the bass, Xan Albrecht on the drums, Wouter Rosseel on Lead Guitar. Bos Debusscher provides a wicked synthline!
Are you ready?

"Pretty Stranger I wrote this song for you... You shurely look like danger but that's what I like about you". Pura Vida goes Psychedelic Rock (...) "Les Eaux Sauvages" is a Love-Song with the Wonderfull voice of Nina "Vitalia" Schelfthout!

"O sopro de Inae" features the warm voice of Alessandra De Queiroz...Straight from Brazil she came to the Mare Altar forest under the guidance of Maarten Rosa in search for the "Arka Perdida".
This song has Portugese Lyrics, praying for the Spirits of Iemanja and Inae (...) The Spirits of the Ocean! "Find a way Home" is a Soultune features Alessandra De Queiroz!

The Title Track "Praying for the Angels" is another combination of Puraman & Alessandra's voice. In a Sixties Psychedelic Spirit (...) Singing about the Lost Souls dwelling the streets of the Ancient City! It was recorded on Puraman's Birthday (...)

"And the lights of the city, drive them crazy. And there's nowhere to run (...) And they're praying, hear them praying for the Angels...".

"Blessings from the Last Ark" features the amazing voices of Roydel "Ashanti Roy" Johnson, Derrick "Watty" Burnett & Kenroy "Tallash" Fyffe from 'The Congos'. Ashanti Roy provides the Bassline and Percussion. Watty & Tallash provide extra magic percussion. Puraman on Vocals, Melodica & Guitar. Pieter De Naegel & Mathieu Vilain play humble and bright on this Deep Roots Tune. Blessings from the Ark. Beyond Time & Space (...)

"Ancestor Spirit Dance" is an Afrobeat inspired tune features the voice of Puraman's Great-Grand-Mother Mathilde Spruytte, who
was a local folk singer.

Presenting Shirley Scott’s deeply personal album, ‘One for Me’ - a defiant tribute to the music she always desired to create but was shrouded by the demands of her vibrant career. Thoughtful curation of the band, tracks, and completely self-funded, this project set off on an innovative trajectory supported by Harold Vick on tenor saxophone and Billy Higgins on drums. Originally released on the revolutionary artist-owned label, Strata-East Records, in January 1975, this unique project will be available to enjoy again on Arc Records from 15th May 2020.

The impetus for this record was a real desire for Shirley to express herself more freely and create something for herself, taking back the power she’d seemingly relinquished throughout her career. Maxine Gordon, Scott’s close friend, and executive producer on the original record, expresses thatthey often had intimate discussions about how Scott was being told what to play, what to wear, how to look and how to speak in public for many years. Having had enough of these restrictions, she created this record to please no one but herself.

As Scott expresses on the back of the original LP sleeve:

“All of the music recorded in this album is both personal and very purposeful to me, because it is the first step toward honesty about what and how I want to play. I’ve done a lot of other albums, a lot of different ways for a lot ofdifferent people and now, with the help of the Creator, in whom all things are possible, I have done one for me too.”

Having self-raised funds to make the record, with complete control over the masters, and with her dream band together, Scott recorded at Blue Rock Studio in November 1974. Harold Vick, often referred to as one of the “unsung tenor saxophonists” of his time, was cherry picked to bring Scott’s vision to life. Throughout his career, he released records on Blue Note, RCA as well as performing and recording with a string of legendary artists such as Ray Charles, and Aretha Franklin. Completing the dream trio was highly sought out drummer Billy Higgins, who is the most recorded drummer in the history of Blue Note Records, having played on 45 Blue Note albums. The key to their success was that Higgins tuned his drums to fit with the organ’s bass sound which, of course, Scott played with her feet.

Scott was also known as “Little Miss Half-Steps,” a name given to her by tenor saxophonist George Coleman, (who wrote a composition by that name in her honor) - she regularly played with both George & Harold. Coleman is known to have admired Scott’s half-steps (when you play two adjacent keys on the organ or piano) and their close bond and mutual respect is solidified on this record through a track titled ‘Big George’ - specifically written for Coleman.

“Queen of the Organ”, Shirley Scott was born in Philadelphia in 1934 and lived there most of her life until her early death in March 2002 at the age of 67. Having mastered the piano at an early age, Scott switched from piano to organ at the tender age of 21. Scott had a legendary recording career as a leaderwith 45 albums mainly released on Impulse and Prestige and is often remembered for her work with Eddie “Lockjaw” Davis and Stanley Turrentine.Boasting a thriving career as a musician and composer, Scott progressed to a professor at Cheyney University in her later years. She was a treasured mother and grandmother, and a cherished friend of music scholar, Maxine Gordon, who’s honour it is to collaborate with Arc Records on shining a new bright light on this monumental body of work.

Premium funk, jazz and breakbeats - rare original 1995 LPs !! act now!

Last summer Liam Gallagher joined the list of all-time greats (Paul McCartney, Page and Plant, Nirvana and many more) who have filmed a prestigious MTV Unplugged session. Having missed Oasis’s 1996 session through illness, the show at Hull’s City Hall found Liam fulfilling some unfinished business entirely on his own terms.

Now Liam is set to release the ‘MTV Unplugged’ live album of the show on April 24th.

The show’s electrifying atmosphere is palpable from the very beginning with a phenomenal reaction as Liam takes to the stage with ‘Wall of Glass’. Material from Liam’s solo career such as his personal favourite ‘Once’ and the joyous ‘Now That I’ve Found You’ resonates in this stripped-back format, with his vocal shining alongside a trio of backing singers and string arrangements performed by the 24-piece Urban Soul Orchestra.

Oasis guitarist Bonehead features on performances of ‘Some Might Say’, ‘Stand By Me’, ‘Cast No Shadow’ and Liam’s first ever live vocal performance of the ‘Definitely Maybe’ bonus track ‘Sad Song’. The show concludes on a crowd-pleasing high with an emotive take on the classic ‘Champagne Supernova’.

Liam launches the ‘MTV Unplugged’ album by sharing the new version of ‘Gone’, which was one of the strongest performances of the night. Stripped of the force of the studio recording, ‘Gone’ instead reveals new-found bombastic dynamics and an evocative cinematic atmosphere.

Long-time collaborators, longer-time best friends, lifelong analog appreciators; the German duo Iron Curtis & Johannes Albert join cosmic forces once again for another LP mission 'Moon II', a heartfelt voyage through the sounds, movements, styles and machines that created this music in the first place.
Think late 80s New York, early 90s Sheffield and the perennial sounds of Italo and Detroit, 'Moon II' is a lunar safari that celebrates the deepest foundations of house, techno and electronic soul while resolutely refusing to get nostalgic. Written and recorded during an intense two-and-a-half month session in Berlin last autumn, there's a consistency and tangible narrative running throughout as the pair play inspiration ping-pong over the course of 10 tracks.
A little Drexcyian glacial nod here, a hazy Boards Of Canada wink there. The Other People Place, Kerrier District, Environ Records, the Hacienda, Sub Club, Heaven 17, classic electro… All these ingredients are constantly bubbling in the mix for both Curtis and Albert (as individuals and even more so as a duo) and the end result is an album that works as a proper album should. Peaks, troughs, dreamy departures and all beautiful things in between.
Taking off where their debut collaborative album 'Industrie & Zärtlichkeit' (soon to be retitled 'Moon I') left us three years ago, the opening modem sounds on the intro track 'Canggu Laundry Club' dial us into a special sense of time and space.
It's a space where anything feels possible; Visual-inspired acid lines on 'Tiger Trek', lino-spinning body pops and windmills to the street sounds electro style of 'The Ultimate Seduction', the club-focused, Traxx-style Cutie Schamuthie collaboration 'Hurting', the melancholy plucks and struts of 'Feingold', the provocative, slinky, smoky finale piece 'Nektar'… The list of intergenerational and cross-genre landmarks on this adventurous body of work go and on, each track complementing the last as they fuse to create a bigger collective picture. A picture that's charmed together through the consistent use of key classic studio machines.
They call it Introverted Electronic Body Music, we call it warm, free-spirited and ultimately timeless. Perfect for your sets, your afterhours or your headphones alike; it's time to let Iron Curtis and Johannes Albert take you to the Moon and back… Once again.

Kumar, ex-Raging Fyah lead singer, met Fruits Records crew back in 2016, when he invited them to play with I Kong at his Wickie Wackie festival in Bull Bay, Jamaica. From then, the musical friendship never stopped, doing different types of collaboration over the years. His unique voice tone, breathe-taking vocal abilities and songwriting skills make Kumar one of the greatest singers of his generation, as his nomination at the Grammy awards 2016 with Raging Fyah can testify. "Message In Your Radio” brings a different taste to Fruits Record's catalog, noticeably more modern than the previous releases. Kumar's melancholic melodies enhance this powerful riddim played by The 18th Parallel with conscious lyrics: Message in the music is a must, today more than ever. Anthem for radio stations!

If you’re into funky sixties or seventies B-movies soundtracks, Mustang Force is what you need! Composed of 14 tracks recorded live and composed by Sébastien Blanchon (drums, rhodes, organ, clavinet, synthesizers) and Emmanuel Marée (drums, guitar, bass,
percussion), Hollywood Hustlers is an imaginary soundtrack inspired by all these movies. 14 songs recorded live, illustratring scenes of pursuits, deals, investigations. An album which will undoubtedly delight fans of funk and rare groove.

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Dievegge emerges again in the darkest hours for the second
instalment. Ouvrijster returns with three soulful house tracks
on the Amsterdam based label and comes back with a definite
improvement in production skills. The first track “Make Me
Move” is a deep disco groover that levitates you with vocals
longing for body movement. The deeper sounds empower the
desire to escape everyday life. “Konkelfoezen” then funks
things up with a groovy baseline and rich sounding stabs. It
yearns for bringing back the modern take on the 70’s sound
into the clubs of today. The slow burner “Sleazy Saints” rounds
up the record with an ode to the sleazy sounds, pleading for
the return of these saints. By its slower pace and unfolding
atmosphere it moves away from the easy heaters and
enriches the messages of these tracks. This second Dievegge
Recordings vinyl only release shows again the goal of this
project and the sound that Dievegge cherishes.

Mount Kimbie take the reigns of the DJ-Kicks series with a 23 track mix that includes one of their own new exclusives. Due for release on 28th Septem- ber, it's a snapshot of exactly what the UK duo sound like in the club right now and is accompanied by a DJ-kicks tour that takes the pair to DJ and live dates all round the world.

Recorded mostly as a live-jam, august 2019, Il Sogno di Carmen is the result of a solitary producer meeting a nomad musician, Viscardi & Alano Santo. A brand new friendship. From there, the duo leads us to a spontaneous and fragile vacation story that yet manages to frame, with a sometimes mischievous accuracy, the current Genevan musical spirit : experimental, sincere, hybrid and hot. “I have no idea where this will lead us. But I have a definite feeling it will be a place both
wonderful and strange. Deep into summer, most definitely. The season of torrid bodies, of slowed down movements ; where melancholy creeps in the form of light and inconstant paragraphs, italian-style. Dragged around in hedonistic reunions, spiritual vagrancies and the soothing coolness of the Rhone river, Carmen is smooth and frivolous. She loosens up. Nothing is important. It can wait. Him too, you mainly. Geneva in the tropics, Bongo Joe on
the terrace, stolen emerald glances & air-conditioned airports. That's it. A wonderful and insignifiant story”.

Mameen 3 are soFa and Cheb Runner from Brussels. Both versatile players in the rather niche scene of oriental electronic music in the European capital, they only ran into each other at the Nyege Nyege Festival in Uganda two years ago. They clicked and after a first jam session they immediately launched Mameen 3.

Cheb Runner is the young Moroccan producer previously known as Gan Gah, now focussing on giving a modern outfit to various MENA music traditions. soFa is a true digger between all crates (his Pingipung Podcast is a gem!), as well as the curator behind the highly recommended Elsewhere vinyl compilations, released on labels such as Emotional Response or Music For Dreams. Following the Mameen 3 debut singles on Bongo Joe with excellent spaced out reggae- disco hybrids, Pingipung proudly unearths the Collapse EP featuring two collabs with legendary musicians.

A side: "Impostrazione" is a collaboration with Claudia Radulescu and Walter Hus. Radulescu is a Romanian visual artist who has written the lyrics for the song, boldly interpreted by the legendary Walter Hus on the occasion of her exhibition 'Hit' in Kanal - Centre Pompidou Brussels in 2019. Hus gained international reputation as a pianist in the 1980s and works as an avantgarde composer today, among many projects he created an opera for the graphic novel “Lint” by Chris Ware. Walter Hus performs an effusive vocal style accompanied by his modified Decap organ which became his trademark sound in the past decade. This jam delivered the material which Mameen 3 subsequently transformed into a hypnotic oriental slow-mo banger.

B side: "Wireless C" features another music veteran, Rodion GA, who describes himself as „Romania’s first one man band". He produced a remarkable electro-prog output in the 1970s and 80s. “Rodion GA sounds like he learned about music from hearing someone describe it in their second language, drunk. It sounds like nothing else: wrong in all the right ways,“ says The Guardian about his music. His collab with Mameen 3 turns out as a balearic, space reggae trip, with dreamy vocals by Rodion and solid bass, definitely a hymn in this year’s festival season, if only there was one...

New fresh release on Rye Records by The Robinson. The 3
tracks' on this record are each a perfect representation of the
different facets of the duo: Soulful, self-reflective and pulsating.
Together the decisive sounds accompany melodies that take
you on a journey far away...

Rich NxT returns to FUSE to open June with his latest EP, ‘The Swish Cheese’.

A quintessential member of the FUSE family since its formation, longstanding resident label favourite Rich NxT may well currently be in one of his finest periods of musical output to date. With recent releases and remixes via the likes of Moxy Muzik, S .A.S.H. and his own NxT Records, and fresh from his stand out remix of Planetary Notions head honcho Joe Rolét on Infuse, the London-
based DJ, producer and label boss now returns to his home imprint of FUSE in emphatic fashion to deliver three fresh original productions in the form of his ‘The Swish Cheese’ EP.

A-side and title cut ‘Swish Cheese’ is a low-slung effort that layers rumbling sub-bass and squelchy stabs beneath icy snares to reveal a twisting and hypnotic opener, whilst on the flip ‘Your Time’ welcomes rich organic percussion arrangements, soft chords amongst tripped-out vocal snippets and further warping basslines. To close, the slick ‘Heaven Base’ shapes up the package with authority as swinging drum grooves meet soaring vocals and arpeggiated synths lines, offering up yet more trademark no-nonsense Rich NxT sonics via the ever-impressing London imprint.

Control is the incredible debut album from Sydney based vocalist Natalie Slade, produced by Hiatus Kaiyote's Simon Mavin and featuring contributions from other members of the Grammy Nominated group.

Combining Soul, Jazz, Folk and RnB, Natalie's timeless vocals dazzle across 10 stunning tracks, perfectly complimented by rich, live instrumentation and Mavin's vibrant production. The album is classic to its core, whilst taking a fresh and energetic approach to a long tradition of Soul/RnB long players. Familiar broken rhythms and jazz heavy motifs, notorious with Hiatus Kaiyote's writing and arrangement style are present, reminding us throughout that we are in the hands of true masters. The result is a kaleidoscopic reimagining of sounds and styles from an exciting new vocal talent.

Recording began after a chance encounter between Natalie and the Hiatus keys player Simon Mavin, resulting in a writing session that quickly escalated into a full blown album project. The chemistry was clear and the creativity flowed. Spontaneous recording sessions ensued, with visitors to the studio jumping in to play on tracks, the levels of musicianship on the album never fall short of stunning and Natalie's poetic and enchanting song writing shines throughout.

The album kicks off with an energetic flash on 'Cloud Cover', an arpeggiating bass line bubbles over skipping drums and aquatic synths. The title track 'Control' puts it's foot on the gas with a driving synth bass, broken beats and soaring vocals. 'Colour' see's Natalie pouring out her heart to the universe over a fluttering mellotron whilst the beautiful 'There Is Light In Everything' gives her a chance to show off her vocal prowess. Control is a truly unique and dynamic debut album from two masters of their craft, we hope you enjoy it just as much as we do

Recommend for fans of Hiatus Kaiyote, Rosin Murphy, Fatima, Yasmin Lacey, Khadja Bonet.

You cannot say Nu Groove without saying Burrell. The seminal New York House label that existed from 1988 until 1992 was at the helm of a sound that was as much traditional as it was transitional. Since the closure of the Paradise Garage in 1987 and before the „NYC House sound“ was well-defined and fenced, Nu Groove was a kaleidoscope and an amalgamation of everything that informed it until then: uptempo r&b, reggae, dub, disco, freestyle, techno, jazz, and the sound that was embossed by Larry Heard in Chicago that was so well picked up in the Big Apple, you name it. Ronald and Rheji Burrell provided its basis, first floor and roof. But that story has already been told by our dear friends from Rush Hour, including its most important chapters. But we are going to tell a new one.

Rheji Burrell presents N.Y. House’N Authority & The Utopia Project. Twelve tracks split over two EPs on Running Back. Named „Out of Body Experience“ and „The ’V’EP“, it features all new music that feels like modern garments cut out of a classic cloth. Almost as if the Nu Groove would have never stopped. And that it is - at the risk of self-praise - all that old or new fans and also we could hope for. Two EPs full of deep-that-doesn’t rhyme-with-sleep house music, has simple, yet clever arrangements, features jazzy sounds, but snappy drums, merry melodies and glossy grooves. An overall joy to listen or dance to. The difference in both EPs is for the Burrell-die-hards and Nu-Groove-scientists to decide.

THE FISRT AUDIOTRIX ALBUM !!!!

10 Tracks by Ixindamix in multiple styles featuring Sim Simmer on The ones that left, Scallywag on Boom Boom Boom and Wotcha Braincells and Roberta Carrieri on Yodelix.
2 X 180G Vinyl in a beautifully designed full-colour picture sleeve with free download code inside.

What Ixindamix says !

"I’m extremely proud to present my new album “The Underground Tree” the first for over 10 years is out on 23rd May !

The title comes from a line in “Reserve the Right” – “We are family, I’ve got my possee and me, we’re fruit from the underground tree” the last track on the album, a rambling rap covering many subjects from climate change to data collection all written under the influence of a heavy hangover, where I foolishly decided it would be a good idea to get back on the mic. You can read more about that here …..

Also featuring on the album are Sim Simmer, Scallywag and Roberta Carrieri on vocals. From Bass House to Drum & Bass with a twist of Acid, Breakbeat, Ghetto, Garage and Swing, these 10 tracks are to be released on a double vinyl album available at the end of May. You can hear the megamix below.

Family is one of the most important things to us, whether it be blood or our larger sound system families, tribes or crews. They are the people that mean the most to us and make our everyday lives the best they can be. This album is dedicated to them all friends and fans the world over xxxx.

THE JUST BROTHERS were Jimmy and Frank Bryant and are best known for their throw-away instrumental 'Sliced Tomatoes' that first graced the scene at Blackpool Mecca. 'Carlena' is a different beast altogether, a powerful slice of gritty up-tempo soul propelled by various members of Motown's Funk Brothers. A collector's item that was first picked up by Wigan Casino DJ Richard Searling on a visit to Soul Bowl circa 1976-7, a trip that also produced the first copy of The Honey Bees' 'Let's Get Back Together', both on the Garrison label, reputedly part-owned by Mike Terry, and both incredibly rare, approaching a combined $5,000 in today's market!
THE HONEY BEES were an in demand, for-hire, backing vocal group working the New York circuit in the mid-Sixties and can be heard, in fine voice, supporting Jack Montgomery (real name Marvin Jones) on his superb Barracuda 45 'Don't Turn Your Back on Me'. Here they deliver their own, much deserved, recording, co-written by Don Mancha and Wigan's adopted son, the late, great Edwin Starr.

Chris Korda's new album "Polymeter" is unique as entirely composed in complex polymeter sequences, a unique way to compose music with a new generation of algorithm, inside which Chris injects DNA of neo classical, ambient and jazz music.

This refreshing album will please both those who are into complex musical composition, conceptual music and who are just seeking for a beautiful, emotional and accessible, unique, musical moment.

This is a "In your hearts not the charts" album, as Irdial Discs once said.

Chris Korda is a transgender, vegan and relentless critic of consumerism, leader of The Church of Euthanasia (willing to halt the overpopulation through suicide, sodomy, abortion and cannibalism) and composer/performer of electronic dance music. She has previously released albums on Kevorkian, International Deejay Gigolo Records and Perlon.


Please read below Chris Korda's introduction to his new album "Polymeter":

Polymeter is an album of virtual solo instrumental performances. They're mostly piano pieces, along with a couple of guitar pieces. They sound uncannily similar to human performances, but they aren't. On the contrary, they are algorithmic music, pure applied mathematics.


The compositions are generated by elaborate networks of polymeter modulation. This sounds complicated and will need some explaining. But the most important point is that these are compositions I didn't write in any usual sense of the word. I created systems of rules, and the compositions emerged from those rules. The rules that generated these pieces can be conceptualized as kinetic sculptures that produce intricate non-random patterns of musical interference. The resulting patterns repeat themselves over long periods, measured in hours, days, or in some cases years.


In order to create this album, I had to write my own MIDI sequencer from scratch, because commercial MIDI sequencers lack the necessary degrees of freedom. My sequencer is also called Polymeter, and I started writing it in 1994. I used a relatively primitive version of it to create my earlier techno and electro releases, but the rapid evolution of computer technology made my original so ware hopelessly obsolete by the 21st century. Like its immediate predecessor "Akoko Ajeji" (Perlon) this album was created using a much more sophisticated version of my sequencer. It took me many years to learn the programming skills I needed to modernize my sequencer, which is one reason why such a long hiatus occurred between my older and newer releases.


Chris Korda

Fronted by creative lynchpin Billy Sullivan, this startling three-piece – augmented by three other musicians when playing live - have cemented a loyal fanbase since their inception some five years ago and alongside Sam Long, bassist and drummer Matt Johnson whilst initiating album sales in excess of 20k and a tour itinerary approaching nearly three hundred gigs.
Life Worth Living is a contrasting melting pot of unadulterated joy and melancholy, laughter, tears, frustration and peacefulness. Quiet and introspective moments collide with loud and angry times and no less powerful. At its heart is a sense of hope that things can be better, the title reflects that aspiration. Produced by Simon Dine, who was behind the desk for Paul Weller’s 22 Dreams and Wake Up The Nation amongst a varied CV - has harnessed the undoubted vibrancy and swagger of the band’s live show helping create an ambitious album – a vehicle for the talents of Sullivan, Long and Johnson.
From the infectious brass-infused opener, Start All Over Again, the Nutty Boys-esque title track Life Worth Living to Tear This Place Right Down bathed in soul overtones, the ballad-like wonder of How Could I Lie To You? to the ska riffage of single (Just Won’t) Keep You Down and the magnificent finale of Make It Through Each Day.

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration. Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike. Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz. Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame. Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful
collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques. This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

Composite Profuse (Bunker Records, Minimal Rome) guides you through the fog on his new EP “North Electric Mist” on Onrijn Records.

The A-side gives you a trilogy of cold, melancholic and haunting electronic tracks that completes a musical journey through the Mist that plays in your head.

On the flip side, we have Animistic Beliefs that delivers a fantastic remix of “North Electric Mist”. Their snappy baseline in combination with the aggressive synth lets every club visitor be on his toes and wanting for more.

The EP ends with “A Blink of Hope into the Fog” and that's exactly what it sounds like. A feel-good ambient piece which is the perfect conclusion to this EP.

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

2x12" Transparent Red & Blue Coloured Vinyl in a double Gatefold.
Limited Pressing of 3000 Editions WORLDWIDE! Please ensure to reserve your requests in advance ... In order to secure stock as this
is ltd. pressing!

2LÄRM UND STAHL 2" is a new worldwide radiography of the actual “hidden” scene in dark electronics offering sharp- and crude minimal industrial beats as it's best; the featured bands are 89’s† from Mexico, S.A.D from UK, PALMARIELLO from Argentina & CHRIS SHAPE from Italy. All tracks have been specially remastered for LONG CUT Vinyl by Daniel Hallhuber at Young & Cold Studios!