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Four song Extended Play 7” by Thee Headcoats Sect! “Absolutely fantastic, cracking rhythm 'n' blues, best thing I've heard for years!” - Rob Symmons (The Fallen Leaves) After 23 years off Thee Headcoats (Billy, Bruce and Tub) have again teamed up with Keith Evans of Downliners Sect, to record a top notch Extended Play as Thee Headcoat Sect. 'The Backer Street Irregulars' features Keith on lead vocals, still equipped with all the power, fun and attitude that put him at the top of the tree of British R'n'B vocalists back in the heyday of rhythm and beat. The EP was recorded in honour of their dear friend Don Craine (the leader of the Sect), who passed over in February 2022. TRACKLISTING A1 – The Baker Street Irregulars A2 – Oh Leader, We Do Dig Thee B1 – One Ugly Child B2 – The Ballad of Malcolm Laphroaig (Alt Version)

With a new album about to be released on Alcopops Records a timely reissue of Pulled Apart by Horses 2017 album which reached number 12 in the UK charts. The Haze includes the bands most popular song on Spotify, The Big What If with 2.4 million streams. “Empowering-ly brazen and addictively wild, Pulled Apart By Horses may take a slightly different shape on their latest album, but the energy they embody proves more freewheeling than it ever has been. Forging strength in the wake of confusion, The Haze is the rapturous escape you've been craving.” -The Line Of Best Fit. Track list. 1. The Haze 2. The Big What If 3. Hotel Motivation. 4.Price Of Meats 5.Neighbourhood Witch 6. Lamping 7.Flashlads. 8.Moonbather 9. What’s Up Dude? 10. Brass Castles.11. My Evil Twin.12. Dumb Fun

Visitor Kane, a band always in search of new ground, has gone through some changes over the last 5 years. Releasing their first album “Easy Concern” as a two piece, an album that dove into new wave sounds, with synths, drum machines and a crooning voice, soon became a fully electrified band, transforming into a classic rock and roll outfit. Their second full length “Change of Heart” showcased a sonic turn. Drum machines and synths were replaced by acoustic guitars, old Casio organs and drums, making the album sound substantially different from its predecessor. Now after 4 years, they are ready for new adventures, and it comes in the form of a new album titled “At Issue” out on November 11th, 2022. The album is a humble look into different aspects of interaction within the boundaries of society. Patrick from Visitor Kane elaborates; “At issue is me trying to describe the world and its affairs through abstraction. It’s tough to understand so it seemed fitting to do so. It being hard to fathom means that it can come across as a bit pessimistic, although it’s something I try hard not to be, because there’s a bright side to almost anything. The title for me represents it very well with its dualistic nature. On one side it’s analogue as hell, but on the the other, it’s all about ones and zeroes...” ‘At Issue’ will be available on vinyl and digitally on November 11th via Part Time Records.

We, the label, asked Ben Wallers (ex-Country Teasers) to write a press release for his new album. "Press Release And Give Me The Disc as Peter said to Murphy said to Daniel said to Ash said to J said to the drummer subs please check name was it Martyn Atkins? No... scratch that please Roger, there's nothing funny about not knowing all the members of Bauhaus. Announcing the new album by The Rebel, yay! Wow! Fucking hell, great! How long is it this time? Oh it's getting on for the optimal 45 mins. Fit on side of a D90 but go bit wobbly near end of SA90. I am listening to my copy on vinyl record, it's much better than tape. That's the intro. Once upon a time there was a man/boy a sort of immature Peter's Pan type pan-pipe type who COULDNT WOULDNT grow up a bit like Keith Richards and who er where was i? The Vagina Museum is very near Maureen Paley's art gallery where if you hurry you can see some INCREDIBLY GOOD paintings/art. Anyway once upon a time it was february 2021 if that's last year or 2020 if it was the one before that, i've lost count, honestly this Covid thing is SO confusing isn't it? Anyway. Ducking fomestic crisis as usual reached boiling point again and i fucked off didn't i, did a runner, off to Turkey wiv a lih-ooh bih-uh ragarahn me ed, first of all 2 weeks on George's spare mattress, then 2 weeks in Merlin's magical tower, then a week in a fucking EasyJet Hotel with no windows, then at last my new exile retreat, Congreve Ho. Meanwhile Dad got me a new recording device the size of a VHS tape, the Tascam D-POO 8 S-E-X multitrack. Quality, oscar mike golf!! Urine for a surprise Listener/s! Ural b sayin "Y could ont he ov get 1 of these B4?" Well! Paid off the fuckin mortgage, didden Eye listenerz. Paid the fucking mortgage of. Dad said "Lets get you a reward Son! Anything name it!" Well i said ... can you fix it for me to touch Britney's hat? The one she wore for the Milkshake video. Great album. Recorded it in exile, from where i write this press release and give me the tape Kevin Haskins." And he did. Tracklist: 1. Nemo To Self 2. I’m Wok Inner Gdn.C 3. A Cretian Build-Up 4. Lays A Seamless Transition 5. A Bottle Of Timotei Hair-Shampoo 6. Long Way Off 7. Teulleodd Hapys (Dave 1) 8. I Aint Gonna Lie To Ya 1 9. Bisgeden Am Swper Eto (Dave 4) 10. Put Your Fucking Glasses On So You Can Fucking See 11. Happy Families (Dave 3) 12. Pyfgosycfs 2/Aquafauna 13. Dave Two Ukraine Nil 14. Nemo Self 2

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a "deeply spiritual vibration that merges cultures, faiths and musical genres". Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae. The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation. Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release, Peter Gabriel invited them to perform at the first WOMAD festival. Today, the record is regarded by some as a cult classic.

The musician Roberto Enrique "Tito" Chicoma forged one of the most solid and constant career paths in Peruvian music. Self-taught, he started playing tenor saxophone in his father's orchestra, also playing the trumpet, piano or trombone when the occasion arose. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the Koki Palacios and Armando Boza orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by América Televisión, starring on programs such as "El Show de Juan Silva", where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group Los Teen Agers. The praise the single received led to the recording of his first LP, "El ritmo de moda", where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: cumbias y boogaloos. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of Andrés de Colbert, Mario Cavagnaro, Eulogio Molina and Lucho Macedo recorded cumbia hits, then the genre soared when groups like Los Pacharacos and Los Demonios del Mantaro mixed it with Andean music.

Desumanos' fresh mixture of guitar driven melodies is as evocative as it is playful. This instrumental project is made up of a dream-team of Brazilian producers and musicians. Kassin, on bass, was member of The +2's band and co-produced Gilles Peterson's Brazilian project Sonzeira, featuring legendary artists such as Elza Soares, Naná Vasconcelos, Wilson Das Neves_ While Liminha, on guitar, is a former member of Os Mutantes. His signature sound is heavily influenced by classic instrumental surf music, but tropical rhythms are also dropped in the mix. The band is completed with Felipe and Manoel Cordeiro (on guitar), one of the lambada originators, and Stephane San Juan (drums), currently playing with David Byrne. Across the tracklist of this Desumanos debut album we can find a unique combination of musical styles that are all filtered through the sieve of instrumental surf music without losing their roots anchored in tropical sounds such as cumbia, African rhythms and, of course, popular genres from Brazil such as forró or lambada. Ten original songs in which the guitar is the undisputed protagonist and the tropical atmosphere emanates through each note.

Heavy-duty Colombian salsa group The Latin Brothers were formed in 1974 by the Discos Fuentes A&R team as a sibling band of Fruko Y Sus Tesos in order to provide the local market with a trombone-heavy ensemble in the mode of the popular Nuyorican Willie Colón orchestra. The band was led by Julio "Fruko" Estrada on bass, featuring basically the same musicians as Los Tesos, minus the trumpets and highlighting the cutthroat trombone work of Gustavo "La Pantera" García. At the time Fruko's Tesos were going through a transition and his talented former lead vocalist, Píper Pimienta, left to sing lead in The Latin Brothers while Joe Arroyo and Wilson "Saoko" Manyoma took over vocal duties in Los Tesos. "El Picotero" was The Latin Brothers' debut album and remains to this day a favorite of salsa dura fans the world over. The album established The Latin Brothers as a bona fide contender in the crowded field of trombone-centric salsa bands taking over the airwaves and dance floors around Latin America. With this bold and brassy record The Latin Brothers would inspire future Colombian salsa orchestras as well as helping establish Medellín as a center of salsa almost as famous as Cali.

After the Doble-Edged Album in 2019, Sublunar owner Sciahri is back on his own imprint with a brand new EP. Following the recent releases on Semantica, Non Series and Trauma, the Italian- Iranian artist continues his exploration into the multi-faceted sound of techno with highly refined and well-sculpted textures. The record fluctuates from the Birmingham Techno sounds of “Paralyzed” to the atmospheric tension of “The void”, to be subsequently transported to the more hypnotic and acidic “Pressure”, and closing with the paranoid and futuristic voices of “Lake of Snakes”. Design By – Margherita Baldi Mastered By – Neel w & p by Sciahri

To mark the club’s 6th Anniversary, Tbilisi club KHIDI announces a series of three VA EPs with tracks from its residents and artists closely affiliated with the club. The series will be released over the course of summer and autumn on its KHIDI label “Music is like fire, without it, sheer darkness and cold” Written and Produced by Matrixxman, Espen Lauritzen, Stanislav Tolkachev, Inigo Kennedy, Deano Mastered by Dadub Studios Artwork by Studio Ekun

Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle.

While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group —just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras —dub & Dilla, primary source psychedelia, ambient & drone— suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, “we sound like the Byrds” (to certain ears, the Clarence White-era Byrds, who really stretched it).

A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they’ve established in Parker’s -The New Breed- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker’s beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers —as distinctive a sonic signature as we have in contemporary acoustic drumming— bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom.

For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker‘s unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker’s music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power.

On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together. – Michael Ehlers & Zac Brenner

Futurismo are proud to present a deluxe remastered vinyl package of the classic 1980 album: Red Exposure by the uncompromising Chrome.

Arguably considered the San Francisco bands greatest work, Red Exposure, the fourth album to feature core members Damon Edge

and Helios Creed, was the definitive version of Chrome’s idiosyncratic approach to sound: a projected vision of near future dystopia via an undefinable guise of experimental space rock and punk-tinged alien soundscapes. Here, the band simultaneously draw from the otherworldly noises of their past records, whilst pushing their synthesizers forward into, albeit oblique, pop song structures.


Edge’s vocals are structured more like an instrument than a voice, lyrics painting images of humanities future on the edge of total destruction. As Creed’s guitar work multilayersit’s way into a completely different aural spectrum, beautiful yet violent, slashing against rhythmic pulsations, loops and experimentations, to create a sound that even today feels beyond the here and now. This distillation of the bands repertoire seemed to envision a deconstruction of rock ‘n’ roll, aimed to break past the shell of cliché that it would of course eventually come to inhabit. Which is why despite it’s age Red Exposure remains a record that still sounds like the sonic product of a far off civilisation, making this disk of new wave nihilism vital for fans of Space rock, Krautrock, Throbbing Gristle, Cabaret Voltaire and Suicide.

The deluxe remastered version of this out of print 1980 LP is presented here in ltd edition coloured vinyl. It comes packaged in a chromed mirrorboard sleeve, contains a large screen printed poster printed with neon ink featuring unseen photographs of the band, and a bonus track.

2 Jahre nach ihrem ersten Album "Toï Toï" (mit Gold ausgezeichnet), einem französischen Grammy Award und einer Reise über viele Bühnen in Europa, ist Suzane mit ihrem zweiten Album zurück. Die Sängerin Océane Colom alias Suzane ist eine der profiliertesten Künstlerinnen der Electro-Szene Frankreichs. hre Songs handeln - wie sie es selbst beschreibt - von wahren Szene-Geschichten. Ihre Musik regt zum Tanzen an, ihre Texte zum Nachdenken an.

Hear angel trumpets and devil trombones on the first instalment of the long awaited ‘Plastic Legacy pt II’ from transcontinental punk trash band Pale Angels. The album boasts soaring melodies and tortured guitar tones anchored by a fuzz bass guitar that sings uniquely yet thumps rhythmically. ‘Plastic Legacy pt II’ sees Pale Angels’ Jamie Morrison and Michael Santostefano joined by Jerome Westerkamp (songwriter for Cincinnati, Ohio’s Vacation) on drums. Returning after 6 years to longtime friend and producer Benjamin Greenberg (uniform, Christfucker, danny elfman) to create a masterpiece of gut-wrenching sincerity and sensitivity. Track listing: Killer; Casper; 21 Days; Must Be Love; Halloween; Thorn; Little Lover; Rahway

Remastered reissue of the eponymous debut album by legendary genre scramblers, Cerberus Shoal. Available on vinyl for the first time in over 25 years. Limited edition Toasted Peach colored vinyl, 500 only pressed. The long out-of-print, eponymous debut album by the prescient, genre-scrambling collective, Cerberus Shoal, showcases their humble beginnings as a progressive punk band with extraordinary promise. Recorded in 1994 and originally released the following year, Cerberus Shoal disTRR024LPC1 is an Indie Retail Exclusive on Rouge Colored Vinyl, 500 only while supplies last. The long out-of-print breakthrough third album by the forever forward-thinking New England collective, Cerberus Shoal, is rightfully considered a high-water mark for the band, and a quintessential example of what would eventually be commonly defined as “post-rock.” The first studio album to feature the members of fellow local experimental rock troupe, Tarpigh, Homb exemplifies the transitional magic and mystery that marked Cerberus Shoal’s brilliant early era. Unraveling their various influences – early 90s post-hardcore, shoegaze, avant-rock, psych-folk, early New Age – and weaving them into something uniquely rich and resonant seemed almost effortless to Cerberus Shoal, and perhaps no album epitomized that more than the lush tapestry of Homb. Finally available on vinyl for the first time ever, Homb Anniversary Edition is packaged in restored artwork with extensive new liner notes written by the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl. “It’s another milestone for the always intriguing Cerberus Shoal.” Pitchfork // “Formed in the early 90s, this six-piece collective has steadily gained a name for themselves as one of the most interesting and original bands coming out of the North American indie scene today.” tilled the band’s earliest creative and philosophical influences – the rhythmic post-hardcore of Dischord Records; the disarming histrionics of Ebullition and Gravity Records; and the ominous, patient dynamics of Slint and Moss Icon – into a concise six-song document that is as much a snapshot of an era as a blueprint for much that followed. Cerberus Shoal Anniversary Edition is packaged in restored artwork with extensive new liner notes and newly uncovered photos from the earliest era of the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl. The enclosed digital download coupon includes a massive 30-minute instrumental bonus track not available on the LP. Track Listing 1. Rain (2:44) 2. Daddy As Seen From Bar Harbor (11:25) 3. Elena (4:56) 4. Change (7:31) 5. Breakaway Terminal Cable (6:24) 6. Rain (Reprise) (5:34)

Digga D returns with his highly-anticipated third mixtape, Noughty By Nature. Lead Single 'G Lock’ featuring US rap star, Moneybagg Yo follows on from Digga’s previous releases which include ‘2K17’, ‘Pump 101’ and ‘Wasted’, the latter two of which were his second and third top 10 records. Since the release of his critically acclaimed 2021 mixtape, Made In The Pyrex – a project which showcased the lyrical dexterity of the West-London rapper – Digga D has firmly cemented his position within drill, a genre which he has dominantly spearheaded over the last few years.

A unique longplayer by Germany's Funk champions The Mighty Mocambos: 'Scénarios' is a wild journey through iconic performances captured on 8-track tape, including celebrated versions of breakdance favourites like 'Axel F.' And 'Let The Music Play' as well as brand new original material composed especially for recordings in unusual settings.

Hamburg's deep funk chefs are known for their intuitive recordings that capture the energy of a live performance, and with this record they go all the way.

Just before the pandemic, the group recorded an in-store live session at legendary Hamburg record shop Groove City and taped an impromptu performance at JAM PDM! breakdance battle in Potsdam. Both were released on vinyl 45s, quickly sold out and became secret weapons for DJs. While most bands shifted their stage to the studio in 2020, producing an abundance of isolated lockdown-inspired material, the Mighty Mocambos – never shy of an antidote - took the mobile version of their recording studio on the road.

With no audience allowed at the Pitt Hopkins Music Session charity concert, the group used the occasion to compose meditative folk-soul instrumentals to be performed exclusively on stringed instruments. Sweaty funk does not work via video stream, but the format provided a welcome opportunity to create something entirely different. Even without electricity and drums, the cinematic "Four Two Three" and "Silent Heroes" are unmistakably recognizable as Mocambo themes.

When you follow Nina Simone's credo that an "artist's duty is to reflect the times", it became evident that once the world slowly started opening up again, further concerts would be captured on the group's portable Fostex R-8 tape machine. Luckily, restrictions fell on the very evening that the band hit the open air stage at the Import Export in Munich on September 11th 2021. The extended afrobeat-inspired jam on J.J. Cale's "Carry On" witnesses people celebrating and dancing together again for the first time after a year and the manic "Munich Psycholympics" unleashes all bottled-up energies that had being lying dormant.

The slightly kafka-esque "Ghost Walk" was taped during a soundcheck for a concert that was eventually called off for safety reasons, reflecting once more the uncertainty of the time. The last scénario sees the Mighty Mocambos returning to a packed indoor venue, playing "Let The Music Play" to a audience of b-boys and -girls – a testament to the sheer power of music. Featured as an encore here, an acoustic version of "Where Do We Go From Here?" (originally recorded with Lee Fields) closes the record and its restless voyage through unusual recording situations.

"Scénarios" differs drastically from other live albums as it does not seek to replicate existing material from studio albums. All songs were written or arranged especially for the live recordings in order to combine the group's DJ-friendly trademark sound with added vibes and momentum from the audience. Most of them were recorded while they were performed in public for the first time ever.

Comes in gatefold sleeve & includes download voucher.




d 04: Theme from Beverly Hills Cop (Axel F) Live

GoaTekk is a mind blowing blend of sharp breakbeat rhythms and flying Goa Trance feeling with a huge blow of Acid influence. On this 5 dancefloor killer tracks plate you will find the diverse palette of mutating genres. The opener ‘deleting_your_data313’ is a tribute to Techstep domination times: gated Reese bass with evolving trance pads goes together on the basement of classic break. Next comes the ‘digital_trance’ stomper - rolling 101 baseline, huge 4x4 kick served with 303 acidline and vocal stabs in breaks. The second side starter - minimalistic ‘primal_code’ utilizes fast 808 drum pattern alongside with ripping roaring acid lead which conquer all frequency spectrum. B2 ‘hyperplane’ is a heavy mid tempo Electro tune with long tailed pitfall and flangy 101 bass. The closing one, ‘poison_bit’ creates a dreamy soundscape where fast 160pbm Juke drum pattern interflow with gated Goa pads and melancholic 101 arpeggios. The ultimate seduction....

Mit ihrer Coverversion von ‘Word Up‘ hat die schottische Band 1994 einen Welthit gelandet, der noch heute im Radio rauf und runter läuft. Während der Pandemie hatten die Brüder Jools und Dante Gizzi die Idee, ihre Lieblingstracks im semiakustischen Gewand einzuspielen, um die Essenz der Songs mal anders herauszuarbeiten. Inkl.

Versionen ihrer ersten Single ‘Better Days‘, ‘Taking On The World‘ aus
dem gleichnamigen Debütalbum, ‘Don’t Say It’s Over‘ und
natürlich ‘Word Up‘

Mit ihrer Coverversion von ‘Word Up‘ hat die schottische Band 1994 einen Welthit gelandet, der noch heute im Radio rauf und runter läuft. Während der Pandemie hatten die Brüder Jools und Dante Gizzi die Idee, ihre Lieblingstracks im semiakustischen Gewand einzuspielen, um die Essenz der Songs mal anders herauszuarbeiten. Inkl.

Versionen ihrer ersten Single ‘Better Days‘, ‘Taking On The World‘ aus
dem gleichnamigen Debütalbum, ‘Don’t Say It’s Over‘ und
natürlich ‘Word Up‘

‘Funny Looking Angels’ is the debut album by Smith &
Burrows, reissued on special edition picture disc
exclusively for National Album Day 2022.
The band, made up of Tom Smith (Editors) and Andy
Burrows (Solo, I Am Arrows, Razorlight, We Are
Scientists), released their Smith & Burrows debut in
November 2011, a Christmas album combining original
recordings and four covers - ‘Only You’ by Yazoo,
Black’s ‘Wonderful Life’, ‘Funny Looking Angels’ by
Delta and ‘On and On’ by Longpigs.
This double-sided picture disc features the iconic
wings of the album cover and the Smith & Burrows
logo respectively. A fan favourite and a staple for
rotation at Christmas.

Deluxe-Ausgabe zum 10-jährigen Jubiläum von Mac Millers Mixtape 'Macadelic' aus dem Jahr 2012, auf silberfarbenem Doppelvinyl mit geprägtem Cover und Tourposter. Mit der Hitsingle 'Loud' und den Featuregästen Kendrick Lamar, Lil Wayne, Cam'ron, Joey Bada$$, Sir Michael Rocks, Iman Omari, Casey Veggies und Juicy J.

DJ Steve's third EP for Klasse Wrecks delves deeper into the sonic universe of the Sheffield producer's arsenal, a slow but deliberate progression can be traced from the previous EPs. Whereas 'Secret Touch' and 'Mainline' ploughed a path made more by the lighthearted genres of UK Hardcore and Yorkshire Bleep, 'Reality' sinks lower into heady vibrations of psychedelia and heavy acid hallucinations. The producer again shows off his musical flair and control of his machine kingdom, every sound perfectly placed on the sound canvas. Classic 303 lines writhe under 101 basslines whilst 808 hihats shuffle over recognisable breakbeats, proving some things never go out of style.

It has been a long time coming as they say and now the second full length album from UK producer 2econd Class Citizen is ready for release. Having spent the past year collaborating with and remixing DJ Food, touring Europe with US artist cars&trains and remixing artists such as Loka and Dday One, 2econd Class Citizen also managed to fit in some studio time and is back with his signature sound on "The Small Minority", his follow-up to 2009's lauded "A World Without".

Der Soundtrack zum ersten Konzert-Video, mitgeschnitten im Mai 1993 kurz nach Veröffentlichung des erfolgreichen Debütalbums. Auf schwarzem Doppel-Vinyl mit bedruckten Inner Sleeves kommt das Album natürlich mit den Hits 'Animal Nitrate', 'Metal Mickey' oder 'The Drowners'. Inkl. Gimmick Cover als Cut-Out Sleeve!

First released in the summer of 1966, ‘Yardbirds’ (or ‘Roger The Engineer’ as it became known’) showcases the
Yardbirds at the peak of their powers. Featuring the classic line-up of Jeff Beck, Keith Relf, Jim McCarty, Chris Dreja,
and Paul Samwell-Smith, the group explored explosive new sonic territories, pushing their blues-rock sound into the
realms of the avant-garde, psychedelia and Indian music.
• This new edition has been expertly cut from the original stereo tapes using precision half-speed mastering by
Cicely Balston at AIR Mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating
an incredibly detailed stereo image with a natural high frequency response.
• Pressed on 180g heavyweight vinyl, featuring an obi strip and housed in a poly-lined inner sleeve. Also includes a
4-page booklet with extensive liner notes by David French based on interviews with Jimmy Page, Paul SamwellSmith, Jim McCarty and Simon Napier-Bell.

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

Repress in soon. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

Gold Vinyl

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Shabaka Hutchings am Saxofon, Danalogue (Dan Leavers) an Percussion, Roland SH−09, Roland Juno−60, Roland SH−101 und Moog Sub Phatty, und Betamax (Max Hallett) an Drums, Percussion, Roland TR−808 und JHS Pro-Rhythm, haben mit ihrer Mischung aus Synthesizer-Sounds der 80er, Saxofon und Schlagzeug, gespickt mit Punkrock, Jazz-Blasts und Dancefloor-Trance schon reichlich Fans gewonnen.

Für sein viertes Album ging das Trio THE COMET IS COMING diesmal in Peter Gabriels Real-WorldStudio, zusammen mit ihrem langjährigen Toningenieur Kristian Craig Robinson unterzogen sie sich einem
viertägigen Aufnahme-Marathon, angetrieben von Intuition, Können und Improvisation.