Search:3 lp s

Commissioned and curated by Flora Yin Wong for her label and publishing house Doyenne, ‘Venus Rising From The Sea’ is a collection of love-themed cover versions featuring Teresa Winter, Susu Laroche, Alex Zhang Hungtai, aya, Maria Minerva, Christina Vantzou, Spivak, Salamanda, clare rousay, Wild Terrier Orchestra, Dania and Flora Yin Wong herself covering songs by The Cure, Robert Wyatt, Mariah Carey, The Cranberries, Pentangle, The Carter Family, Spiritualized, Debussy and more.

‘Venus Rising From The Sea’ takes its cues from the classical deity Aphrodite - whose name literally means “sea foam” - for an ever necessary expression of love in the modern age. The label asked friends and collaborators to interpret “love” in whichever way they saw fit, be it obsession, self-love, unrequited, unconditional, whatever. But despite the open brief, and the vastly different modes of execution, all the artists involved somehow ended up linking hands with a shared determination to smudge the original songs into bleary-eyed, uncanny traces of the originals.

To open, Pentangle's jaunty 'No Love is Sorrow' is puffed into stormy clouds by Teresa Winter, who retains the original’s unmistakable bass twang and teases Jacqui McShee's siren song into a saturated buzz of layered, obfuscated words. Verses twist into verses, lines into echoed-out lines, capturing the song’s boundless yearning, rather than tracing its exact contours. Next, Susu Laroche yields one of the set’s highlights on a brilliantly nuanced, highly impactful version of Nina Simone’s take on folk standard ‘Black is the Colour of My True Love’s Hair’, turning the original’s multi-faceted Appalachian/Scottish routes into a heart-stopping, Nico-esque fuzz we haven’t stopped playing for weeks. Christina Vantzou (the CV ov CV & JAB) is joined by pianist Ezra Fieremans in the absorbingly filmic scenes of ‘Hot Springs’, while Maria Spivak's interpretation of Robert Wyatt's 'Just as You Are' finds her singing Brazilian vocalist Mônica Vasconcelos' words with reverence, smearing them into a hypnagogic fantasy.

Flora Yin Wong takes an inconspicuous approach on her love-letter to Mariah Carey's 'The Roof (Back in Time)', itself a melodramatic interpolation of Mobb Deep's Herbie Hancock-sampling 'Shook Ones, Part II'. The unmistakable piano line is frayed into a granulated gurgle, fleshed out by gauzy cries; Mariah's ecstatic diva logic haunts the edges like a furtive glance, hanging beautifully behind Wong's dense soundscapes. Alex Zhang Hungtai's take on the 1927 standard 'Me and My Shadow' is even more atomised, reduced to a disembodied vocal that oozes around a clattering woodblock.

Always a standout, aya's tribute to The Cure's 'Lovesong' infuses the 1989 classic with the same self-investigatory charm she exhibited on 'im hole', slowing it down to a giddy, infatuated lurch, and replacing the guitars with eerily-tuned oscillations and drums with hollowed-out, electrically charged thuds. "I will always love you," she moans through a wall of static, like some lost “Pop Artificielle” addendum. The album’s biggest surprise is saved for last, however, a cover of The Cranberries' 'No Need To Argue' from Paralaxe Editions boss Dania Shihab. Already a poignant memory of a faded romance, Dania's version is even more glacial, her tender voice gusting over inverted guitars and looping, wordless moans, guiding us ever so gracefully into the nether-world.

‘Venus Rising From The Sea’ is a gooey, emotionally raw set of recollections and affirmations from some of the scene's most open-hearted operatives. In the end, the love that's most evident is the love each of the artists has for their source material, somehow binding loose threads into a rich tapestry that will leave you gasping, perhaps a little tearful too.

2024 Restock

SPACIOUSNESS - Music Without Horizons - 'Spaciousness' is the first volume in a series of releases that seeks to explore the connections, the overlaps, the roots and the future of a music variously referred to as ambient, deep listening, new age and even post classical. Further to this our aim - in association with Strange Attractor Press - is to explore the concept of 'Spaciousness' not just through music but also through writing, still and moving image and through live events. Featuring Abul Mogard, Matthew David, Private Agenda, Cathy Luca, MJ Lallo, Jon Tye & Ulrich Schnauss, India Jordan, Blackwater, Susumu Yokota, Laraaji & Seahawkes, Andras, Teleplasmiste, Yamaneko and Carlos Nino & lasos.

Eight years after the critically acclaimed Alien Cartoon, Senegalese producer IBAAKU returns with a new project an alchemy of jazz, electronic sounds and Casamance music in the tradition of Touré Kunda and Xalam in their day.

The album is also accompanied by a short film
a manifesto of resilience in the face of the sound poet's personal history but also a questioning of the way in which technologies technologies and cultures come together to reinitialize our imaginary.

Identity: The meeting point of electronics, jazz and the musical tradition of Casamance.
The realization of this new project is associated with a research approach to traditional Casamance rhythms, vocals and instruments.

A reference to Spiritual Jazz is present, through stories and approaches ; while the skeleton of IBAAKU's tracks remains experimental,
with strong influences from the emerging african club scene.

‘Kevin’, a new collaboration between Ben Bondy and Mister Water Wet, presents what feels like a time-machine hidden in the back of your closet. ‘Laundry’ pleasantly haunts listeners with phantom purrs, harmonies, hums and horns. This project is a hand reaching through the void and out of your speakers responding to moments of isolation and pining with resounding gratitude. It makes space for warmth in slow-healing wounds; the gift of reset that is born from the call and response between friends.

2024 Repress

With over 20 years of experience in the scene, Digital World will mark Break’s fifth solo album amongst a stack of anthems across the years. The Top D&B Artist of all time on Beatport, Break has built a huge reputation for crisp breaks, heavy bass, and strong melodies with stellar D&B cuts like Last Goodbye with Celestine, as well as I Got You with SHY FX, Breakage and Tyler Daley. His output of killer remixes and singles have to led to this latest project for 2023, which looks to be a big year for Break and Symmetry.

Break continues his legacy with this flawless body of work which truly encapsulates his timeless, forward-thinking sound that continues to push the limits of the genre. The album contains a stacked line up of features, boasting vocals from legends MC Fats, Charli Brix, Fox, Liam Bailey, Lorna King and SP:MC, all amongst that signature Break production of crisp drums and huge, system rattling basslines.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland CR-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

Moderna Ignites the Dance Floor with Debut Album "The Future Is Among Us"
Conceived over seven years in Berlin and Mexico City, "The Future Is Among Us" is a sonic tapestry woven from diverse influences. Each track, produced in a different era, retains its unique character while seamlessly blending into a cohesive album experience.
The album ignites with "DIE4U," a powerful homage to Prince's iconic "I Would Die 4 U." Moderna reimagines the timeless sentiment – entirely self-produced and written in Berlin. Layered vocals, a driving bass line, and a pulsating electro beats that create a controlled yet electrifying atmosphere.
The title track, "The Future Is Among Us," embodies the collaborative spirit at the heart of the album.
Originally conceived before the album was complete, bringing bass lines and a percussive energy that feels like a declaration that the future is not something to wait for, but something we are actively creating together on the dance floor.
The album promises a vibrant blend of electronic and dark wave music, showcasing Moderna's ability to weave together infectious dance floor anthems with deeper, more introspective moments.
This depth is evident in tracks like "Lost at Heart," a collaboration with post-punk artist Skelesys that transcends genre with its raw emotional vulnerability. The album's ability to seamlessly shift
between these contrasting styles is a testament to Moderna's artistry and her ability to curate a cohesive listening experience that invites a provocative energy.
Moderna’s impressive career extends beyond this album. Beyond her solo work, she has showcased her remixing talent on tracks for The Matrix 4 soundtrack and Curses' Next Wave Acid Punx compilation, collaborated on four EPs with Mexican artist Theus Mago who also contributes to the album on the dream wave serenade “Blades”.
The album will be released on her ‘Brave New Rave’ imprint which she established in 2019 from her highly recognized radio show on KCRW Berlin.

‘Unknown Fate’ is the debut release from UF - the collaborative live project between German experimental techno artist OAKE and British producer and live performer Samuel Kerridge.
Self-described as the ‘power metal techno’ duo, the project was initially born from an Atonal commission. Now, OAKE & Kerridge present two EPs ‘Unknown’ and ‘Fate’, culminating in 9 tracks of unadulterated sonic warfare for their LP release.
Of the project UF say "Forged through friendship, addiction, and debauchery, UF is the sum of our parts. It’s taken over a decade to formulate these ideas and the noise is palpable. Pack your end of world survival bags and prepare yourselves for the ensuing riot.”
Samuel Kerridge and OAKE started creating music together when they shared a studio in Berlin and have been making music together for a decade. This is the first time that they have released music as a duo and it’s been a long time in the making.

• Limited LP 180g White Vinyl – 300 copies only

• UK marketing and global PR teams engaged - recent coverage: Hypnotic Groove, Expansion Radio, Metal Junkbox and Skreen B

• Samuel Kerridge is a pioneering & well-respected British electronic music producer and DJ recently featured as Resident Advisor’s ‘Mix of The Day’.

• Berlin based OAKE aka Eric Goldstein is recognized for his dark, atmospheric soundscapes that blend elements of techno, industrial, and ambient music

Pub emerges from the mists to follow the 'Autumn' ep with his first album of new music in over a decade. 'Process The Wise' LP.

A selection of tracks that are deeply lustrous and magical, equally measured yet wandering, with complimentary harmonics & scattered chaos.

An inexplicable vibe, liquid feelings for endless summer nights.

When all you want to do is be the fire part of fire… say it to yourself and then say it again. Repeat it like a mantra. It’s what UTO did.

Anyone familiar with the UTO’s lauded 2022 debut Touch The Lock, which Pitchfork praised for its “prismatic synth pop”, will be aware of the variegated nature of what they do. This album is just as colourful, with Neysa’s vocalwork sparking similarities to Kim Gordon’s off-kilter vocals, which they both ceremoniously jets through a post-electronica blender mixing stylized indie sleaze productions with 90s breakbeats.

While they might appear as a singular entity to others, UTO wrote large sections of this album apart, converging by the fireside to discuss the day’s work before coming together to hone and finish the songs. 2023 was, by their own admission, a difficult year, and that’s reflected in the Dantean themes expressed in songs such as the lead single ‘Zombie’, which arrived at the end of November as a taster for the new record; the latter’s dark heart is belied by the skittering beats, glitchy electronics and pummeling sequencers that elevate it from the void.

From fire, early man’s discovery, to AI, humanity’s next great adventure - with all of the wonders and complexities of human relationships in between - When all you want to do is be the fire part of fire really is about life, the universe and everything. Just remember, be the flame, not the moth.

The Knights of the Zodiac, always on the attack...

Saint Seiya, also known as the Knights of the Zodiac, is a Japanese animated series created by Masami Kurumada in 1986. It tells the story of the Knights of Bronze who fight to protect the goddess Athena. The series was a huge success and spawned an extensive franchise, with TV series, films, video games, figurines and toys.

Straight from Rio de Janeiro, Dippin' Records introduces the studio album 'ASA', by the sizzling hot modern Brazilian Multi-instrumentalist/Producer Fabio Santanna. Flyest modern Brazilian tropical disco-boogie you'll find in the market! Following up on his most recent collaborations with JKriv and Joutro Mundo, Fabio modernizes the MPB vibes of Joao Donato, Marcos Valle, Ed Motta for the current dance music lovers.

ASA: Dia (Day) evokes a sunny Balearic boogie 'day time' feels just in time for the Brazilian summer skies opening up. So sit back, put on your shades and sip on your tropical drinks and press play to vibe with the fabulous Fabio sounds.

Phét is a Tibetan syllable that means to cut through. Through concepts & obscurations. Through anything in the mind that stands as an obstacle to our direct engagement of the present. Such tempting distractions! Phét says: RIGHT NOW. As Phét does: RIGHT NOW.

That Jarrett Gilgore named his project after this mantra—Phét Phét Phét—underscores his interest in music as a form of awakening. Music as presence, manifestation, & channeling, more than as ornamentation or description of experience. This is no vessel for preconceived notions, but a record of musicians opening themselves to discovery & encounter through play. Through each other’s company. Phét Phét Phét says: Say farewell to what you’ve known. Say hello to everything you feel now, & to all the things that feel through you.

Domesticated and Open Space collaborate to release DJ Fitness - The DJ Fitness Programme.

After more than 6 years of silence, Abschaum is finally back with a new album, and it was about time because this new opus is sublime!!

‘Shamanic’ Chris (Abschaum’s mastermind), made alone this magnificent piece of Folk, Ambient, Kraut music, that he carefully recorded in the mountains of Jura, experimenting with his guitar and a little electronic set-up, composing beautiful melodies and singing French lyrics with powerful voice to bring us to another level of harmonies, the all merged with special atmospheres that are not without remembering Eno or Froese sometimes. In our opinion, this record could easily been recognise as a timeless masterpiece in the future.

Standard version on 2LP black vinyl in gatefold sleeve. ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.



'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with HONEY (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, STUFF. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like ECHT!, Stellar Legions and TUKAN. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3:
"Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

The story of Ultrasonic Grand Prix is one of two vintage 60s guitars and their owners. I love my 1967 Vox Grand Prix guitar,” declares multi-instrumentalist/producer Shawn Lee - creator, among other feats, of the soundtrack for Rockstar video game classic Bully, and one half of Ultrasonic Grand Prix. “It is a serious beast and an important part of my arsenal. Every tone you need…’For guitar maestro Barrie Cadogan - of Nottingham Freakbeaters Little Barrie, best known for the main title theme of ‘Better Call Saul’, The The, Liam Gallagher and playing on the soundtrack for Baz Luhrmann’s ‘Elvis’ - it was the Vox Ultrasonic, also from the same period, that caught his eye. “I first became interested in Vox guitars because of people who used them like Spacemen 3 and the James Brown band of the late 60’s”, he explains, “but it was when I was part of a recording session at Anton Newcombe’s studio in Berlin that I had chance to get to know the Vox gear better. I was borrowing an Ultrasonic from a friend for a while and Shawn already had his Grand Prix. I thought it would be a good name for our project whenever we got it going.’ It was with this shared passion for these weapons of vintage, psychedelic gold that the suave, velvety, and off-kilter cool of INSTAFUZZ was born. While a project born of recent times, the flames of INSTAFUZZ were first ignited all the way back in 2010, where the two met during mixing sessions for Little Barrie’s 2011 LP King of the Waves. Snap forward a decade and we find Cadogan ripping guitar licks on Instagram, the workaholic Lee using these as inspiration to lay down rhythm tracks on analogue drum machines. And not long after that, cut to the two trading files back and forth furiously online, birthing music together in ever more completed forms. And the music that did emerge was weird, startling, and insatiably groovy. With one foot dipped in the organ-warbling garage of 60s psych, and the other vibrating in the mind-expanding fractals of the British Acid House boom, INSTAFUZZ plies the earthly quintessence’s of blues, rock, soul and jazz, against the preternatural discomforts of programmed drums and unhinged synthesisers to produce something distinctly and nostalgically futuristic

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - La Fantastica. This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains the beguiling, English-language Psychedelic Soul of "Latin Blues." Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Feedback Waves - the new imprint from independent label Rings of Neptune - is proud to present Trill, the first and only album by Palomatic. Almost thirty years after its original release on CD in 1995, this beautiful nine-track work is now available on vinyl for the first time.

Palomatic is an alias of Koji Takahashi, an active member of the bubbling Japanese electronic music scene of the early-to-mid 90s. Besides his solo work, he was a core member of Takahashi Tektronix (with Nic Yoshizawa) and Mutron (with Kiyoshi Hazemoto, aka Interferon), as well as working as a synth programmer for supergroup Denki Groove.

Following the release of his debut track 'Halo' on Syzygy Records in 1993, Takahashi made a series of contributions to compilations on the scene-defining Transonic label. His first and only full-length album, Trill, combined these tracks with original material to form an absorbing and versatile standalone statement of the Palomatic sound.

From the oscillating lilt of 'Flutter', which opens proceedings at a measured 104bpm, through to the symphonic epilogue of 'Soar', Trill is rooted in the fertile territory between organic and synthetic sounds - ground that was nourishing the work of many likeminded producers worldwide at the time. West Coast psychedelia and East Coast funk, the moody bass weight of Bristol trip-hop and Sheffield bleep, and the chemical rush of German techno and Belgian trance: with a distinctly Japanese sensibility, Trill drew these strands together into an elegant musical tapestry. The result is timeless - indeed, album centrepiece 'Foaming Waves' would sound right at home on the faster-paced dancefloors of today.

This double LP features an alternative artwork by Feedback Waves co-founder Max Binski.

Bedroom Talks, hailing from Ukraine, is a gifted solo artist whose music, delves into an eclectic blend of genres including coldwave, darkwave, synthwave, post-punk with touches of EBM. “Call Me Malespero,” produced during Ukraine’s shelling, captures the essence of his art in a unique and moving way.

It’s a powerful testament to human resilience and the ability to find beauty even in the darkest moments, evoking a range of emotions from pain and anger to palpable sweetness, all woven into poetic lyrics and enveloping melodies. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany). inc

repressed !

Lenticular-Cover 2x12″ 180g black Gatefold 2x printed Innersleeves Dl-Card

Released in 2018, Monolink's debut album, Amniotic, has collected over 100 million combined streams to date. The project was largely supported through remixes from the titans of the modern house and techno scenes such as Patrice Bäumel, Tale Of Us, Rodriguez Jr, Ben Bohmer, Artbat, Adam Beyer and Nicole Moudaber. These remixes all went on to achieve Beatport Top 10 placings, with Artbat's remix of 'Return to Oz' reaching a staggering 43 million combined streams.
"Under Darkening Skies" will pick up where "Amniotic" ended.

Berlin based live performer Sarah Sommers' debut Album recorded live. HeartCore is 74 minutes of dance music driven by Sarah’s deep love of electronic dance music from different eras and genres including dub, techno, house, dubstep, drum n bass and breakbeat. The album spans 9 Tracks taken from Sarah’s live sets over the last two years from performances predominantly in Berlin clubs.

10 Years Anniversary compilation LP.

Ten years ago, on 21 April 2014, Russian enclave of the Baltic Kaliningrad-based trio Blind Seagull started off its adventure in the soon to be known as Sovietwave aka Russian post-punk underground. Tean years later they have accomplished to release nine full-length albums on all sorts of limited edition formats such as LPs, CDs, tapes with most of them being sold out for years.

It was time to bring many of these tracks back to life, picking up the best among them and reissuing for the global post punk/darkwave niche.
Fifteen cuts previously released by labels like Detriti, Sierpien, Pine Hill through which the band led by Denis Zarubin has shaped its own brand of icy coldwave, one pretty classic and extremely fresh and contemporary at once. On top of these we have one more track exclusive to this release which is a eurodance-oriented remix for their minor hit Animals Die in the Scaffolding. Think of a bunch of goth kids screwing around at the local carnival and you’ll get the vibe!

Decade Of Effort is due on April 21, 2024 on white vinyl LP limited to 300 with fairy-tale artwork by the band enhanced by the magical lettering of young Spanish artist Sara Fornés.

Twin Cities duo Feel Free Hi Fi return to their in-house imprint Digital Sting with their first full length entitled “I was so far in I was out.” After two prior EP's and collaborations with Equiknoxx and Duppy Gun Feel Free Hi Fi deliver 8 new tracks of their distinct but eclectic digital dub. Amalgamating many of the sounds, sonics, and aesthetics of prior releases into these eight percussive instrumentals. The industrial dub and weirdo dancehall remain but the focus is further refined while also exploring environmental and cinematic sounds to create often dark and heavy versions that are as singular as they are collective, as introverted as they are expansive.

The records come in double sided silk-screened printed custom DJ Jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

NYC dance music legend Joey Longo has been a part of the dance music soundscape for those in the know from way back when, his first records surfacing in 1989 under a variety of monikers and on a slew of labels out of NYC. Some (Cabaret, Loop d'Loop, Foot Stompin') were his own, others (Underworld, Maxi, Minimal) not, but the they always came bearing the credit 'produced by Pal Joey'. Joey hit the heights early on, as one of his earliest records, Dance (as Earth People), went big in dance music terms. If you were raving in the early '90s chances are you will be getting flashbacks from 'Dance', as it was played across a number of scenes. A deeper 'beats' mix features on this gem of an album, his first in over 10 years, along with a perfectly selected blend of classic cuts, new versions and remixes and unreleased wonders. Mastered to perfection, but keeping his raw New York style.

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

To describe an album as "electronic music" has long been an understatement. "Romanticismo siempre" is a good example. Recorded mainly using synthesizers, the album travels a territory that borders on the experimental and the dancefloor, entering at times in both fields.

Andrés Téllez, Delone, states in its title a clear commitment: "an ode to life, to never lose that passion that is the engine that pushes everything, no matter how many obstacles there are along the way, such as love, madness or death". The need to express this is at the origin of the record.

His musical language is rich and varied. Among synthesizers, analog experimentation, drones and psychedelia, many of the subcultures that have shaped what was once called "electronic music" appear. Flashes of trip hop, new age and proto-electronics are amalgamated throughout the album, together with hints of mutant house, breakbeats, IDM and trance. Other genres peripheral to club sounds, such as post-rock or kraut, also appear.

The idea of creating something that could almost be considered a soundtrack is present, but Delone's singularity has taken the album down a different path, using his own musical vocabulary to articulate a narrative that leads him towards his desired destination, keeping experimentation and dance culture, constants in his career, very much in mind.

In 2014 and together with his partner and friend Carlos Trujillo, Andrés created Riverette, a record label that became a record store in the center of Madrid, with his studio in the basement. From there he unleashed his productions as Dos Attack and his first works as Delone. Riverette quickly became a key creative pole in the Spanish electronic underground, and the label has released records by Legowelt, Kornel Kovacs or HAAi.

Throughout the eleven tracks of "Romanticismo siempre", a story materializes in which the protagonism falls on the adrenaline of passion. Through a very personal sound, with a certain introspective vocation, Andrés tells us a wonderful tale with the help of exquisite arrangements and a rich expressiveness.

"Romanticismo siempre" is a polyhedral album that can change with every listen, with every track, and reinterpret itself almost with every playback. It is a complex record, delicate and full of nuances, at the same time charged with a powerful and primitive energy.

Veteran is the second studio from renowned Baltimore rapper, JPEGMAFIA. It was released on January 19 2018 by Deathbomb Arc and Republic Records. The album was released to widespread critical acclaim and brought JPEGMAFIA to the forefront of contemporary and experimental hip hop. NME, Pitchfork, Rolling Stone, Noisey, and Spin all listed Veteran in their top 100 albums of 2018. In 2019, Pitchfork listed it at number 171 in their list of best albums of the decade. The album features JPEGMAFIA's most streamed song, 1539 N. Calvert.



As described by Pitchfork: "Entirely self-produced, Veteran is a remarkable exercise in sound and texture. At its best the production makes the frayed edges of each element part of the atmosphere, a mess of distortion that works percussively and melodically." JPEGMAFIA has since established himself as one of today's premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers.

2024 repress

Melody As Truth founder Jonny Nash returns to action with his first solo album in four years.

Over the course of eleven mesmerising tracks, Nash points the compass gently inwards, casting aside any conceptual frameworks in favour of exploring an imaginative and idealised “personal folk music” that combines elements of traditional acoustic music with the producer’s richly immersive interpretation of ambient, a sound he has been developing for well over a decade.

From the smudged acid-folk bliss of ‘Theories’ and ‘Eternal Life’, to the layered acoustic guitars of ‘All I Ever Needed’ and the delay-soaked, Durutti Column-esque ‘Light From Three Sides’, a wide variety of musical textures weave their way throughout the album.

Point of Entry is much more than a mere ‘guitar album’ – it draws on a rich and diverse palette to achieve its purpose. The delicate saxophone work of ambient-jazz contemporary Joseph Shabason swells on ‘Ditto’ and ‘Light From Three Sides’. Cascading piano lines ripple through the crystal clear sonic waters of ‘Face of Another’, whilst echoes of Nash’s work with Gigi Masin and Young Marco as Gaussian Curve appear in the dancing synth sequences of ‘Ditto’ and ‘Golden Hour’. Nash’s reverb-laden voice also appears for the first time since 2016’s critically acclaimed Exit Strategies, used delicately throughout the album to conjure up a world of dusk and golden light.

Combining the delicate human touch and naivety of earlier Melody As Truth releases with widened scope and vision, Point Of Entry is arguably Nash’s most complete work to date – an album that’s as much a statement of his “personal folk” vision as a future ambient classic.

Recall IV is the project created by Andre Fischer that reached a massive success in the German techno scene in 1990 with the release of the single “Contrast” on Techno Drome International / ZYX Records. This was shortly followed by two more releases in 1991 (“Contrast – Part 2” and the extended play “Aesthetic”) and contributions to various compilations.

Andre has been a very active techno composer and producer since the late 80’s working with people like Lars Janzik, Carlos Perón, Giora Schein & Holger Wick (Konzept), Volker Then (Friends Of Carlotta) on countless projects including Scope, Scrot, Technoline, Trust in 6, ADSX, etc.

“Interstate” compiles tracks from all Recall IV singles, some old compilations and a selection of unreleased cuts and remixes. Limited edition of 500 copies on double vinyl with insert (thick black cardboard with die-cut logo) and sticker.

The debut album by the italian singer-songwriter influenced by soul, jazz, funk and hip hop.

Love Letters is the debut album of urban singer-songwriter Raffaella Zago. The first album of the Paduan-born, Milan-based artist contains ten tracks influenced by soul, jazz, funk and hip hop that deal repeatedly with the theme of love. In 2023, Raffaella Zago quickly attracted attention with her first official song, a nu-soul reinterpretation of "Money Trees", a song by the most praised rapper of the last decade, Kendrick Lamar, for which she composed a new melody. The other pieces of "Love Letters", in which she addresses people who have been or are part of her life, reaffirm her vocal, writing and composing skills.