quête:z lab

Der legendäre ghanaische Afrobeat-Pionier Ebo Taylor veröffentlicht in Zusammenarbeit mit den Jazz Is Dead-Gründern Adrian Younge und Ali Shaheed Muhammad ein neues Studioalbum. Im Alter von 88 Jahren reiste der ghanaische Highlife- und Afrobeat-Pionier Ebo Taylor zum ersten Mal in die USA, um bei der inzwischen kultigen Jazz Is Dead-Konzertreihe aufzutreten, die landesweit ausverkaufte Hallen bescherte. Während dieser Zeit nahm Ebo zusammen mit den Jazz Is Dead-Produzenten Adrian Younge und Ali Shaheed Muhammad ein psychedelisches Afrobeat-Album auf. Eine Zusammenarbeit, die Ebo-Fans auf der ganzen Welt nicht erwartet hätten und die Kenner des klassischen westafrikanischen Funks sicherlich zufriedenstellen wird. Die wirbelnden Bläser und düsteren Gitarren auf "Ebo Taylor JID022" erinnern an seine bahnbrechenden Aufnahmen aus den Siebzigern, die ihn zu einem der produktivsten und revolutionärsten afrikanischen Künstler aller Zeiten machten. Aufgenommen im Linear Labs Studio von Adrian Younge, beweist dieses Album mit polyrhythmischer Perkussion und twangy, fuzzed out Gitarren, dass Rhythmus der Schlüssel zu allem ist. Das Ensemble ghanaischer Backgroundsänger*innen verströmt einen einzigartig spirituellen Sound, der die Hörer*innen in Ebos Glanzzeit zurückversetzt. Eine der aufregendsten Komponenten dieses Albums ist jedoch Taylors unverkennbarer Ansatz beim Gesangsstyling. Seine zu Herzen gehenden Texte über Liebe, Frieden und Spiritualität spiegeln seine jahrzehntelange Erfahrung und Weisheit wider. Dies ist ein Afrobeat-Klassiker, der ein echtes Highlight im Kanon von Ebo Taylors unbestreitbarem Katalog und ein Kronjuwel in der Jazz Is Dead-Bibliothek darstellt.

The Vinyl Only label is a hot one amongst heads and now it hits double figures with a cheeky new 7" packed with plenty of delicious dub. It is the work of the Vinyl Only Allstars and A-side cut 'Dub, Dub, Dub' is just that - a big bottomed sound with cavernous low ends, oodles of reverb and some well-treated vocals floating in amongst the liquid chords. 'Find A Reason' is another rich soundscape with natty guitar riffs, filtered vocals and a sunny disposition with some playful pianos.

Introducing Rimini Moods, the debut release from Bordeaux’s Monomoods label, crafted for lovers of Nu Disco, Indie Dance & Italo Disco.

With standout tracks from Doctr, Brian Ring, Astore, and Hysteric, ensure maximum satisfaction on the dancefloor !

“Mine” (TBM-1) is the terrifying debut album of saxophonist Kosuke Mine, with a sense of tension that seems to burst throughout, and is a monumental work that marked the historic beginning of the prestigious Three Blind Mice label in 1970.

"Face The Fear" ist das zweite Album von In Strict Confidence und erschien im Original 1998 auf dem damaligen Kult-Electro-Label "Zoth Ommog", auf dem auch Bands wie Front 242, Frontline Assembly und viele andere in den 90ern ihre Heimat hatten. Nach dem Debüt-Album "Cryogenix" 2 Jahre zuvor, konnte auch "Face the fear" überzeugen. Beinhaltete es doch Hits wie "Industrial Love", "Alles in mir" oder "Hidden thoughts", die auch heute noch in Clubs laufen und auf Konzerten die Fans begeistern.
Nun, 27 Jahre nach Erstveröffentlichung, kommt das Album erstmals auf Vinyl. Dazu noch in transparent-weissem marmorierten 2-LP Gatefold Design und mit unveröffentlichtem Bonusmaterial.

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

WRWTFWW Records is in a state of total bliss as it announces the release of the Pitstop Box compiling all 24 tracks from Japanese house music pioneer Shinichiro Yokota’s two acclaimed albums Do It Again and Again (2016) and I Know You Like It (2019). The collection, available on vinyl for the first time ever, is presented as six 45rpm-cut 12inches housed (!) in a superb slipcase box set created by Lopetz, designer, illustrator, typographer, and co-founder of Swiss graphic design studio Büro Destruct. Included as bonuses are two sticker sheets.

Previously only available on CD in Japan via cult electronic label Far East Recording, Shinichiro Yokota’s album discography finally gets a long overdue vinyl release in the form of a limited-edition box set housing (!) six 12inches and a total of 24 songs showcasing the house legend’s celebrated sound. With a production style drawing from a rich blend of funk, hip hop, electronic, and Japanese influences, Yokota’s music is loved for its simplicity, its hypnotic quality, and, most importantly, its SOUL – homegrown 90s soulful melodic club music…pure love!

The Pitstop Box, full of dancefloor treasures and sprinkled with downtempo gems, not only defines Yokota’s personal journey but also resonates as an essential contribution to the house genre and Japanese music in general. It includes his house hits (“Right Here Right Now”, “Night Drive” and the list goes on), a cover of “Simoon” by Haruomi Hosono’s Logic System, and a collaboration with his longtime partner and electronic music hero Soichi Terada.

Shinichiro Yokota began his musical history in Tokyo, inspired by electronic music giants such as Yellow Magic Orchestra and Kraftwerk. He co-founded Far East Recording with the great Soichi Terada (who also worked with WRWTFWW for the Omodaka compilation) in 1990. After releasing the now highly sought after Far East Recording album with Terada in 1992 (from which his viral hit “Do It Again” is from), he took a hiatus from music and, most notably, brought his passion for sports cars to the next level by launching Night Pager, a company he started with his wife, specializing in tuning sports cars and modifying limiters for competition racers. It’s this side of Yokota’s life which has inspired the design of the Pitstop Box. He triumphantly came back to music with the album Do It Again and Again in 2016, consisting of unreleased 90s recordings as well as new material, and followed it up with I Know You Like It in 2019. His work has influenced generations of producers, and has expanded Japanese house music's reach on the global stage. Experience it on vinyl now.

Full unadulterated pleasure forever - from night drives to dancefloors.

SOULMEEX marks two years in action, making it the perfect moment to unveil the second label release. A personal and conceptual EP presented by Michael Lane, tracing the emotional path from depression to hope amidst a challenging world.

The journey begins with “Feel”, exploring the process of emerging from numbness to rediscovering emotion. Featuring 25 voices in 20 languages across the gender spectrum, the track is a testament to collective expression and global connection.

The story continues with “Breathe” and “Hope”, reflecting the resilience required to hold on and the eventual return of optimism. These tracks share instrumental themes that bind the project into a unified narrative of healing and renewal.

The EP also includes a remix of “Hope” by Lauer, transforming the closing chapter into a cinematic moment of triumph.

A celebration of human connection and the power of creativity to navigate life’s struggles.

**Voices on “Feel”: Adnan, Aicha, Alberto, Alina, Alix, Alyssa, Ava, Egle, Eva, Farid, Fife, Giulia, Gregoire, Hara, Henrik, Iggy, Irini, Jorieke, Julie, Leeloo, Marco, Michael S, Stefano, Svenja and Michael Lane**

Limited edition 299 copies with sticker.

One of the most rare and classic Experimental Japanoise albums, recorded in 1981

The Clamps Unveils From Dust to Dawn - A Cosmic Journey into Drum & Bass

French Drum & Bass producer The Clamps is set to release his highly anticipated second album, From Dust To Dawn, through the label Kosenprod.

Known for pushing the boundaries of Drum & Bass, he delivers a highly personal and finely crafted album that merges intricate sound design with an intense dancefloor-oriented energy.

From Dust To Dawn showcases The Clamps' signature Neurofunk style, characterized by deep, dark basslines, meticulously engineered beats, and emotional soundscapes, while also incorporating elements of Jungle, Hardcore, and Techno. This 16 track journey blends introspective themes with hard-hitting club anthems, creating a diverse experience that is both thoughtful and electrifying.

The album will be released as a special double vinyl edition, cementing its place as a must-have for Drum & Bass enthusiasts.

Mike Parker returns to Samurai Music to apply his steely, rigorous approach to another EP navigating the 170BPM zone. As a widely celebrated pioneer of ice-cold wormhole techno, Parker finds profound depth in alien textures and ruthless repetition which he ably twists to the drum & bass template.

The A side of Envenomations leaps forward with urgent jump-up grooves as the driver for lean, rolling workouts. With his minimalist tendencies, 'Voc-1 Robot' and 'Ee-Yo' strike a cool and deadly mood similar to classic mid-90s Krust, swapping jazzy samples for atonal synthesis.

Parker was last spotted experimenting with this techno-D&B crossover on 2023's Sabre-Tooth, but the keen-eared may have already detected his interest in half-time on the Stinging Insects / Stages Of Metal digital single he dropped on his own Geophone label back in 2020. Both tracks make a welcome arrival on wax to form the B side of this release, channelling Parker's signature palette into more spacious surroundings.

Backed up by an additional pair of digital-only tracks, Envenomations is another standout exercise in the fertile synergy between techno and drum & bass, delivered by a true auteur with an unmistakable sound.

After the success of their first single the super hit 'Hondebrok' (You can trust a man with a Moustache vol. 5), Amsterdam-based trio Tending Tropic return to Moustache Records with their debut EP featuring 3 original tracks and a remix from Machinegewehr that further explore the modern Italo Disco Rave genre. A1. Terpentine. A track that has been the secret weapon and the NEW DJ hit for label boss David Vunk, debuting with strong dancefloor response playing this out for a year non stop at many national and international festivals and venues.

Expect crazy chatchy bassline and hypnotic trippy energizing melody. The new hit where everybody was waiting for! A2. Terpentine (Machinegewehr remix). Rotterdam-based Machinegewehr delivers a remix that takes the title track deeper into Italo territory, adding a distinctive, nostalgic twist. B1. Our Adventure Begins. Modulating Yamaha synths and an adventurous Italo-inspired lead, a track that symbolises the beginning of the next chapter for Tending Tropic. Described by DJ Cormac as absolutely beautiful! B2. Mowing the Lawn.

Final track of the EP drives the listener to the darker side of Italo, complete with signature synth hooks and a deep, clean drop. C1. Kilimanjaro (digital bonus track). Named after the dormant volcano and highest mountain in Africa, this track wreaks havoc using a combination of acid basslines and Italo strings. Dont sleep it this gone is gone.

Complete & Unbelievable: The Otis Redding Dictionary of Soul was the soul legend's 1966 album (and the last issued in his lifetime). The original album features mostly covers on side one and original compositions by Redding on side two.

The album features musical assistance from Booker T. & the M.G.'s-organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald "Duck" Dunn, drummer Al Jackson, Jr.-pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman.

The Otis Redding Dictionary of Soul was released in October 1966 on the Stax label and peaked at No. 73 and at No. 5 on the Billboard 200 and the R&B LP charts respectively. The album produced two singles, "Fa-Fa-Fa-Fa-Fa (Sad Song)" and "Try a Little Tenderness." In 2,000 it was voted No. 488 in Colin Larkin's All Time Top 1,000 Albums. In 2012, the album was ranked No. 254 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.

Cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Boz Scaggs' self-titled album, released in 1969, is an iconic and pivotal record in his career, marking a shift in his musical direction to incorporate elements of soul, R&B, and showcasing his musical versatility.
Departing from the Steve Miller Band after a two-album stint, Boz Scaggs found himself on his own but not without support. Rolling Stone publisher Jann Wenner, his friend, helped him sign with Atlantic Records and the label had him set up shop in Muscle Shoals, recording his debut album with that legendary set of studio musicians, known for their down-and-dirty backing work for Aretha Franklin and Wilson Pickett, among many other Southern soul legends.

AllMusic writes: "The Muscle Shoals rhythm section, occasionally augmented by guitarist Duane Allman, gives this music genuine grit, but this isn't necessarily a straight-up blue-eyed soul record, even if the opening 'I'm Easy' and 'I'll Be Long Gone' are certainly as deeply soulful as anything cut at Muscle Shoals." Scaggs dabbled in country and blues along with the soul and R&B that grounds this record.

The extended 11-minute blues workout "Loan Me a Dime," functions as much as a showcase for a blazing Duane Allman as it does for Boz. But even with that show-stealing turn, and even with the Muscle Shoals musicians giving this album its muscle and part of its soul, this album is still thoroughly a showcase for Boz Scaggs' musical vision. "Loan Me a Dime" is blues-rock classic. It showcased Scaggs' soulful vocals and Allman's remarkable guitar skills.

Boz Scaggs' songs garnered significant radio airplay and helped introduce Boz Scaggs to a wider audience. The impact of Boz Scaggs extended beyond its initial release. It has continued to influence and inspire subsequent generations of musicians, particularly those interested in blending blues, rock, and soul.

This definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Boz Scaggs, housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing, will be a highlight in your most-listened-to album rotation.

F.U.N. Is Now Available In A Limited Frosted Shadow Colored Vinyl Pressing!

The latest full length album from Detroit mainstays Slum Village, F.U.N., has now made its way to vinyl. The 12-track project is their first album in nearly ten years and includes fresh collaborations with Larry June, Cordae, Eric Roberson, Robert Glasper , Karriem Riggins, Abstract Orchestra, Sango, Phat Kat, Daru Jones, Earlly Mac, The Dramatics and more. 2015's critically acclaimed Yes! further cemented T3 and Young RJ's ability to effectively carry on the legacy of the seminal rap group, retaining its essence while evolving its sound with fresh new energy. However, with last year's sold out tour in Europe, and the release of the Larry June and The Dramatics-assisted "Just Like You", it was revealed that the duo was back in the lab together working on a new Slum Village album. F.U.N. finds Slum Village expanding on their signature certain sound, but still staying close to their hometown roots: Young RJ explains- “We wanted to just try something new, so we focused on making Disco-inspired music,” and T3 notes that the recording process all “began with collecting old Disco records.” For fans who wonder why the sonic shift, and why the long hiatus between proper albums, T3 says “Slum is still here. We’re still relevant and we’re still trying to push the envelope. Sometimes people put too many rules on music, and without sounding cliche, we wanted to just have fun with this album.” F.U.N., indeed.

** CASSETTE RELEASE

Spanish-born producer Digge Shim relocated to Malmö, Sweden a few years back and found his calling in the reincarnation of electro through his relentless output of acid-flavored 303 jams. Besides establishing the Malmø Traxx label he also ran the city’s foremost record shop for electronic dance music.

For his first release on @blundar.co the producer has sourced tracks from his archive of tapes and found a batch of unreleased gems that seemed to fit nicely together in a sort of megamix style. On Side I, he collects some indica-infused ambient and goes all in on Gregorian chants and samples of political speeches. Side II is a head nodding trip through leftfield experiments in downtempo, dubby disco and the tropical ghosts of boom bap.

More than a decade into his career, Harlem emcee Smoke DZA has become one of hip-hop’s most recognizable voices. Vividly narrating his own remarkable lifestyle with slick wordplay, DZA has amassed an unprecedented catalog for an independent artist, with more than 40 projects to his name featuring the likes of Kendrick Lamar, A$AP Rocky, Wiz Khalifa, Action Bronson, Ty Dolla $ign, ScHoolboy Q, Cam’ron, Wale, and more. A key member of burgeoning Buffalo collective Griselda Records, Benny The Butcher is a formidable lyricist known for powerful flows and complex punchlines steeped in his real criminal past. In recent years, Benny has continued his ascent, signing with iconic label Def Jam and releasing a series of acclaimed studio albums featuring collaborations with Lil Wayne, J. Cole, Snoop Dogg, Rick Ross, Big Sean, and more. In 2019, Smoke DZA and Benny The Butcher linked for the joint project Statue Of Limitations, entirely produced by the legendary Pete Rock. The union of three supremely talented artists drew immediate attention online, leading to coverage from outlets like Complex, Okayplayer, The Fader, HipHopDX, RapRadar, Stereogum, Hypebeast, and more. Finding genuine chemistry over Pete’s raw instrumentation, DZA and Benny deliver a cohesive exploration of Empire State street life on this memorable collection, which features appearances by Westside Gunn, Conway The Machine, and Styles P. To celebrate the 5th anniversary of its release, Statue Of Limitations is now available on vinyl for the first time in years, complete with the previously unavailable Pete Rock instrumentals.

Novalis wurden 1971 gegründet und fingen schon 1975 auf ihrer zweiten LP "Novalis" an in Deutsch zu singen. Lediglich ihr Erstling "Banished Bridge" (1973) war in englischer Sprache. Neben verklärten romantischen Texten benutzten sie auch Werke der Klassik. "Impressionen" vom Album "Novalis" ist zum Beispiel eine interessante Adaption der 5. Symphonie von Anton Bruckner. "Vielleicht Bist Du Ein Clown" erschien 1978 auf dem Brain Label, Achim Reichel produzierte das Album. Es ist der fünfte Longplayer der Band. Das Cover designte Hipgnosis (Storm Thorgerson, Aubrey Powell), die auch zu dem Zeitpunkt für alle Cover von Pink Floyd oder dem Alan Parsons Project verantwortlich zeichneten. Novalis schafften es auch auf diesem Album wieder, einen Sound zu kreieren, bei dem alle Instrumente in einem partnerschaftlichen Gleichgewicht nebeneinander agieren. Zeitlose Musik, die auch heute noch funktioniert. Der Re-Release kommt als Vinyl in einer limitierten Edition von 500 Stück im farbigen (zufällig) Vinyl.

We finally return to the infamous 1980 production run of Sly & Robbie and their Taxi label. Keen followers of the dubplate runnings of yore know that in ’80 going into ’81, the spare, piledriver sound of Taxi drum and bass at Channel 1 was one of the, if not THEE ruling sound on dubplate. Some tunes, like “Heart Made of Stone” and several Black Uhuru tunes were eventually released on wax and became hits. Others, like “Warrior” and “Rocks and Mountains”, never got that far, only unearthed after decades of infamy as dubplates. So to kick off our return to this sound, here’s one that was never released and very few ever had the privilege of playing, even on steel. “Don’t You Cry” by the Viceroys is raw, haunting roots with a monster drum and bass workout of a version. Straight from the dub room at 29 Maxfield Avenue to your living room, another DKR special delivery.

A special moment here with this one. This is one of my personal all time favorite tunes since I first heard it just about 20 years ago. Likewise, it’s been on the DKR wish list since the very first time such a list was made. This record has it all - one of the best rhythms of the entire ‘80s let alone the early digital canon, laced with lazers, killer synths, dive bombs, vocoder, screeching across the border, militant lyrics, gigantic drums, perfect claps, the list goes on and on. An absolutely perfect record for the period and for the ages. Hopeton Lindo lets loose an awesome vocal - his salute to the heroes and martyrs of the militant struggle against South African apartheid - Benjamin Moloise, Stephen Biko and of course Nelson Mandela. If you don’t know, read up on these men ASAP. This tune was made at Tubby’s on a wild mix of the original King Tubby’s tempo riddim, and was originally released on the very short lived Aqua label due to some producer runnings back in the day. Now recut from the original master tape, this is one of those joyous occasions where this new issue actually sounds better than the original, which suffered from being made at the notoriously quality plagued GG’s pressing plant. Fans of late ‘80s digital and militant reggae take note - this is your perfect storm. A long time searching for this one, finally here.

Released on the Impulse label in 1969, Albert Ayler's album Music Is the Healing Force of the Universe was entirely written by Ayler's partner, Mary Maria Parks. Along with The Last Album, which contains outtakes from the same session, this was Ayler's last studio album (he would die in November of 1970). According to AllMusic reviewer Al Campbell, this "is a powerful and often ignored recording from the Albert Ayler catalog.

It is a prophetic statement dealing with guilt, confusion, sorrow, and hopes of redemption. While not easy listening, it provides an important portrait of a man facing a life and death inner struggle beyond the boundaries of jazz."

Further Conversations with Myself, released on the Verve label in 1967, was Bill Evans' sequel to his 1963 Grammy Award LP Conversations with Myself. As on that initial album, here all the pieces are unaccompanied solos with piano overdubs. On Further, however, he plays just two pianos instead of the three he had previously employed. According to AllMusic reviewer Scott Yanow, "The program is brief, but Evans plays quite well throughout. In particular, his versions of Johnny Mandel's 'Emily' and 'Santa Claus Is Coming to Town' are most memorable. A thoughtful and (despite the overdubbing) spontaneous-sounding set of melodic music."

Produced by Creed Taylor and originally issued on the CTI label in 1975, Jim Hall's Concierto followed the path of Miles Davis' celebrated Sketches of Spain in presenting, among other tunes, an arrangement of Joaquín Rodrigo's "Concierto de Aranjuez."

The LP was an all-star venture, with Hall accompanied by such luminaries as Chet Baker, Paul Desmond, Roland Hanna, Ron Carter and Steve Gadd. Desmond had a long history of recording with the guitarist, but this was Hall and Baker's first out of just two recorded encounters.

Concierto received a **** ½ rating on AllMusic, with reviewer Anthony Tognazzini stating that it "ranks among the best albums of Hall's superb catalog and the personnel is a jazz lover's dream come true."

The only album released on the Verve Label by prolific Brazilan singer Marcos Valle, Samba '68 has him recording his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market.

Marcos' rapid and stunning artistic growth is apparent on this Bossa Nova classic. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle's tunes) will enjoy it immensely, for Samba '68, with brilliant arrangements by Eumir Deodato, is definitely one of the ultimate "loungy" records. The albumreceived a 4 1/2 star rating on AllMusic，with reviewer John Bush stating that "Samba '68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout. One of the best Brazilian crossovers of the 1960s."

The first of three collaborative albums by Marvin Gaye and Tammi Terrell, United was released on August 29, 1967 on the Motown subsidiary label Tamla Records. It was the duo's as well as Marvin Gaye's most successful album of the 1960's, with sales almost reaching one million copies. It yielded four Top 100 Billboard chart hits, including the two Top 10 singles, "Your Precious Love," and "If I Could Build My Whole World Around You." United peaked at #69 on the U.S. Billboard 200 album chart and #7 on the U.S.

Billboard R&B albums chart upon its release. United received a 4 ½ star rating on AllMusic, with reviewer Andrew Hamilton stating that it "was the first of their three LPs, and quite possibly the best of the lot."

Pharoah Sanders' Love in Us All was recorded in 1972 but released on the Impulse! label in 1974. It consists of two extended compositions, "Love Is Everywhere" (which Sanders also recorded that year in a different version for his album Wisdom Through Music) and an homage to John Coltrane, titled "To John." Both serve as an aural representation of the way Sanders' music polarized the jazz world at the time. Ted Davis of Paste Magazine included "Love Is Everywhere" in his list of "The 10 Best Pharoah Sanders Songs," stating that it "captures his sound at its most wonderfully cosmic, esoteric and enlightening—a perfect distillation of all the things that made him such a singular and unforgettable artist." According to AllMusic writer Nathan Bush, "Coltrane himself never created a work as emotionally direct as 'Love Is Everywhere'.

The eighth album by American saxophonist and composer Pharoah Sanders, Village of the Pharoahs was released in 1973 on the Impulse! label. Sanders plays both tenor and soprano sax and takes some spirited vocals. One of the highlights is "Memories of Lee Morgan," Sanders' heartfelt homage to trumpeter Lee Morgan, who had died the previous year. According to PopMatters writer Sean Murphy, "The results of this album are impressive. This is the work of a contident explorer willing to go anywhere and do anything, a time machine that involves neither physics nor hot tubs, a more than solid outing from Sanders in his prime is nothing to shake a sax at."

The eleventh studio album by American soul quintet The Temptations for the Gordy label, Puzzle People was released in 1969. Produced entirely by Norman Whitfield, it expanded on the psychedelic soul sound of Cloud Nine. Although a few soul ballads are present, the album is primarily composed of Sly & the Family Stone/James Brown-derived proto-funk tracks, such as the number-one Billboard Pop hit "I Can't Get Next to You." The album peaked into the Top 5 on the Billboard Pop Albums chart, and spent fifteen weeks at number one on the R&B Albums chart. According to AllMusic reviewer Mark Deming, this is "the work of a great vocal group firing on all cylinders and getting inspired support in the studio, one of the group's strongest late-60's efforts."

Founded in 1994, LA's Aberdeen were an underground twee-pop group who’s tight discography of beautifully melodic, melancholic and dreamy songs envelope the cliche topics of summer sunshine, young love, and the lack thereof. Since 2006 the band has been helmed solely by lead writer & producer John Girgus.

Their music primarily resided on the Bristolian cult label Sarah Records, where they would release of some of their most beloved tracks such as 'Byron' and 'Fireworks' in the mid 90s. They are a band who's stripped back sound had a blissful focus on the love of melody whose influence has subconsciously woven itself throughout the current generation of underground pop and indie music.

We are super excited to announce the re-pressing the bands first 3 EPs in their entirety, with additional bonus tracks, on vinyl for the first time in 30 years. These are very special songs by a band whose permeance on vinyl was integral to the flexi disc adoring generation of the Sarah movement..

BASta! is the solo project of double bass player and composer Joris Vanvinckenroye, in which he explores and pushes the limits of the double bass. In this project, using looping and effect pedals, Joris creates an almost orchestral sound, using the full range of his instrument-from the deepest basses to the highest notes. These layered compositions weave complex rhythms and melodies into a rich and compelling soundscape.

The debut album of BASta!, Cycles, was released in 2009 on the label Homerecords.be and marked the beginning of an adventurous journey that brought BASta! to numerous stages, both solo and in collaboration with multidisciplinary productions by Rode Boom and Retina Dance Company, among others. Besides BASta!, Joris has been active for decades in bands such as Aranis, Troissoeur and MOTYK (formerly Flairck), with which he performs internationally, from Mexico to China and from Oman to the United States. He also composes music for dance, theatre and multidisciplinary productions, including Rode Boom's successful production Unknown Evidences, which has been performed over 600 times in France, Morocco and Denmark, among others.

Joris Vanvinckenroye:double bass, Viola da Gamba
Composed and recorded by Joris Vanvinckenroye,
Mixed at Studio Cucurucu by Jesse De Roo
Mastered at Elektropolis by Uwe Teichert
Album produced by Nik Bartsch

"Self-released avant garde jazz – reissued for the first time! Recalling Kraftwerk precursor the Organisation, or contemporaries like Faust, Hünerberg employs flute, organ, bass and balloon to his DIY compositions.

Over top of Gillespie's nimble, pointillist drumming (he also plays piano and harpsichord), Hünerberg employs flute, organ, bass and balloon (that’s not a saxophone on “Cucumber”). The disorienting opener “Cro Magnon/Two” recalls Kraftwerk precursor the Organisation, or contemporaries like Faust. There’s a strange, disconsolate atmosphere to the proceedings, almost as if the air had been sucked out of a recording session booked for some avant-garde jazz heavies.

Instead of Impulse, Phase Murmur should have been bound for ESP-Disk. Alas, the duo were experimenting out in the relative vacuum of southwestern Ohio. Far from any bustling metropolis or curious record labels, Phase Murmur was truly a DIY affair. Not only did the duo press the LP up themselves (down the road at Cincinnati's Rite Record Productions), but the evocative and mysterious photo on the cover is by Gillespie while the layout, with accompanying poem on the back, was assembled by Hünerberg.

It was on Phase Murmur where Hünerberg first found his voice, and the rest is the sound of history, unspooling on a reel-to-reel tape machine.

Includes new liner notes by Erick Bradshaw (Host of Spin Age Blasters with Creamo Coyl on WFMU)"

Heather Maloney’s new album, Exploding Star was never intended to be released. Written after the death of her father, the songs were the most vulnerable body of work she had ever created - meant and written only for her. The idea of releasing an album went against her instincts to keep this art close. Luckily for us, her family convinced her otherwise. Maloney was able to track for 2 days in her childhood home - recording songs, backing vocals, the crickets in the yard and even percussion played directly on the walls and floors of the house itself. Maloney also played her father’s guitar and a keyboard that she had since she was a child. The result is raw and exquisitely personal, a collection of twelve songs urgently written at the time to help ease the “greatest heartbreak” of Maloney’s life but are thankfully and transcendentally now ours as well.

Another one from Lloydie Slim, this time on his Ivanhoe the Conqueror label. This is the horns cut of his killer lick of drum song, by sax man Lennox Brown. A different mix of this was released on the flip side of the New York pressing of Tappa Zukie’s cut, where it was titled “Ivanhoe Strikes Again.” This mix, with its dub version, were put to tape for a single release titled “Danger Zone” which never happened at the time in the late ‘70s. Another previously unreleased heater, now you can play this one alongside the other cuts of this rhythm appearing on our Record Smith compilation albums.

After a long break in April 2024, two old friends returned to their studio in Helsinki, Finland. The emerging music appeared to be quite different from the duo's previous work, so they felt a need to have a new name for the project. That's how General Electrix was born. During the next months, a series of meaningful coincidences occurred. As a result four tracks found home on a new record label Secret Order.

After a string of celebrated releases for labels like Eglo, Neroli, and Sounds Familiar, Patrick Gibin unveils his debut album on his own Mother Tongue imprint, showcasing his signature dedication to all things deep and soulful.


Standout collaborations include tracks with Kaidi Tatham, such as “Gear Up Rudi!” and “Let It Go,” with Kaidi also delivering a rare vocal performance on the title track. Patrick’s early house and acid influences shine on “No Matter What” and “Joint Purpose (Alternative Mix),” while his notorious love for boogie is on full display in “Team Spirit” and the Sandra St. Victor collaboration, “Come Mornin’.”


Sandra, best known as the powerhouse voice of The Family Stand, brings her unmistakable vocal brilliance to the album, enhancing its emotional depth and soulful energy. The album closes with the mellow outro “In This Together,” another title that shows the mindframe and ethic behind Mother Tongue in all its endeavours. This collective spirit is further reflected in the contributions of Italian talents Edoardo della Bitta and Alberto Lincetto, whose musical artistry added a vital dimension to the album’s rich and soulful sound.
It’s all about Strength in Numbers!

Legendary House don Harry Romero joins Rekids for the first time with the ‘Nice To Meet You’ EP comprising two massive tracks with classic NY House DNA with the sort of modern twist Romero’s become synonymous with throughout his two-decade-plus career. The Bambossa Records founder now lands on Radio Slave’s flagship label following an impressive 2024, which featured releases on Faith, Nu-Groove, and Defected.

After his appearance on Rekids’ podcast series in August, House hero Harry Romero starts the label’s 2025 with the ‘Nice To Meet You’ EP. First up is the title track, a uniquely hypnotic cut with a bold kazoo melody and raw, club-ready low-end that shines on the breakdowns and high-impact drops. ‘Danny’s Groove’ is next, a track with real Romero energy, its rhythm carefully layered with an organic drum shuffle at the centre, an ear-catching whistle melody in the back, and plenty of synth hits in between - the ‘Nice To Meet You’ EP is a masterclass in building and releasing energy on the dancefloor.

Radio Slave’s Rekids imprint was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Katerina, Sean Johnston, and many more.

John Lee Hooker - "It Serve You Right To Suffer (Verve Acoustic Sounds Series)" 180g Heavy Vinyl LP Released on the Impulse! Records label in early 1966, this collection is a mix of new compositions and re-workings of tunes John Lee Hooker had previously recorded, including a cover of Barrett Strong's 1959 Motown hit "Money (That's What I Want)." Featuring Panama Francis on drums, Milt Hinton on bass, and Barry Galbraith on second guitar, the result is some of the best John Lee Hooker material with a band that you're likely to come across. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. Verve Label Group; Verve; Jazz; Catalog

Born and raised in the outskirt of Milan, Ferrari began playing drums in post.-punk bands at a young age. Meanwhile, he also started his career as a DJ and producer, ending up releasing tracks on some important labels and playing in various parties all over Italy and Europe. He’s the resident of Milan’s finest party ‘’Anna Molly’’ and affiliated with BSR crew. Ferrari’s project embodies all his influences: from rare Disco gems to House with hints of Detroit Techno

Label boss Bruno brings us a love story on the dancefloor with the HL002.

Who hasn’t fallen in love one night? Side A is perfect for the club, while Side B is made for those endless afterhours when all we want is to lose ourselves completely with that special someone.

Vibes Addikt kicks off 2025 with an explosive first release: the new single from Samuel Sanders, "One D". A track that pays tribute to the sounds of 90s raves while infusing a resolutely modern and impactful energy.

Samuel Sanders, known for his incisive productions and contributions to prestigious labels like Ghoststyle, Invasion, and Kevlar, makes his grand return with a track that hits hard. "One D" draws direct inspiration from the old-school rave vibes, featuring deep basslines, acid synths, and a hypnotic atmosphere that sweeps the listener into an energetic, danceable spiral.



As a bonus, N.O.B.A. offers a remix that completely reinvents the track, amplifying its immersive and impactful dimension, perfect for energizing the most intense sets. His remix enhances the hypnotic aspect of "One D", while adding the brutal and modern touch that is N.O.B.A.'s signature.



The EP continues with "Azekor" (B2), a track that will literally take over the dancefloors. Designed for the peak moments of a night, "Azekor" is a hypnotic techno track with an unrelenting groove, ideal for those high-energy club moments.

With this first release on Vibes Addikt, Samuel Sanders makes a bold entrance into 2025. "One D" and "Azekor" are must-hear tracks, true anthems for fans of raw, hypnotic techno capable of taking over the dancefloors.

Early support from Dave Davis, Youri Parker, Furax, DJ HS, Franky Kloeck, Tom Leclercq…