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2024 Repress

Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions.

Originally released on Rick Rubin's American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque.

Frusciante's rapidfire, angular playing shows how key he was in the Chili Peppers' evolution away from their funk-rock roots. His cover of "Big Takeover" perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody.

The album's second part - thirteen untitled tracks that Frusciante defines as one complete piece, Usually Just A T-Shirt - contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia's Michael Rother or The Durutti Column's Vini Reilly.

On the front cover, Frusciante appears in 1920s drag - a nod to Marcel Duchamp's alter-ego Rrose Sélavy - which comes from Toni Oswald's film Desert in the Shape.

This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with gatefold jacket and printed inner sleeves.

In a joint venture with Weird Vacation, fmd is pleased to announced the long overdue reissue of the classic Plush debut album, More You Becomes You. Originally released in 1998, More You Becomes You was revered upon release and has been remastered from the original tapes by Jason Hillier with new Digital and DL masters created by Bob Weston who also recut new lacquers for the vinyl reissue. Described by Uncut magazine as “One of the most charismatic and eccentric pop craftsmen of the past twenty years”, Liam Hayes has been making critically acclaimed records since the 90’s. His first single “Three-Quarters Blind Eyes b/w Found a Little Baby” released under the moniker Plush, was cited by the NME as being “..one of those rare records - and incredibly rare debuts - that instantly seems a classic..” Although he emerged from the Chicago indie-rock scene, Hayes is often compared with artists such as Jimmy Webb, Brian Wilson, Laura Nyro and Harry Nilsson. Like some of the best folk-pop or soft soul from the 1960’s and 1970’s there is a timeless quality to his music. Re-release of debut album More You Becomes You is remastered from the original analogue tapes by Jason Hillier and recut for vinyl by Bob Weston, who also remastered the CD and Streaming formats. A deluxe 12 page full size booklet comes with the LP version (which also comes packaged as close to the original as possible, with a printed outer envelope/bag) and a 20 page booklet comes with the CD version put together by Liam and Jason Harvey, with Sleeve Notes by John Mulvey.

Annechoic, the force of consciousness behind the acclaimed cult label Audiofugitives, steps out of the shadows once again to present her latest sonic endeavour, 'Eclectic Sugar'. Ana De Giles, whose career has been shrouded in secrecy since the early 2000s, continues to captivate audiences with her eclectic mix of electro, techno and the ethereal sounds of ambient, leaving a trail of enchanted listeners in her wake.

"Eclectic Sugar" represents an exciting new chapter in Annechoic's musical adventure, demonstrating her unparalleled ability to traverse sonic environments with sophistication and refinement, the EP's emotional depth and strength resonates profoundly.

Annechoic's musical journey has been marked by a dedication to sonic exploration and a keen ear for genre-bending compositions. She has carefully curated her craft, spending much of her career balancing roles in film post-production and co- running the label Audiofugitives. Nowadays, her DJ sets have earned her residencies and performances alongside esteemed artists.
With Eclectic Sugar, Annechoic invites listeners into her world - a world where boundaries blur, emotions soar and sonic landscapes unfold in fascinating ways. As you delve into her latest offering, prepare to embark on a border-crossing journey unlike any other, guided by the masterful hand of Annechoic herself.

In the spring of 1954 Jazz-great Dave Brubeck did a tour of North American college campuses. Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums) joined him and their support of Brubeck’s uniformly flawless, ultimately producing what many consider as the most memorable music in the artist’s cannon. Indeed, the genre gets schooled as the quartet leans in with striking energy and finesse. Enjoyed among college students in the 1950s and early 1960s both the tour and album brought Jazz to a whole new generation. Jazz Goes To College is available on black vinyl.

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales… and doesn't want to be famous".

Lossapardo's new album "If I Were To Paint It" releases on May 17th. Known for blending art and music, Lossapardo has caught the eye of big names like The New York Times Magazine or Netflix and building a strong artist community around him (FKJ, Luidji, Bas, Joseph Solomon, Montell Fish, Olivia Dean…).

His music, filled with feelings of wonder and a bit of sadness, tells stories that connect with people everywhere. From painting to composing music, every piece of his work is a journey into emotions. His album invites listeners into a world where every note and color creates a vivid picture of life's ups and downs. Lossapardo crafts experiences that speak to the soul, promising an album that continues to share his unique vision with the world.

It tells the story of three different people and their everyday struggles, urging empathy from the audience, all over a genre-bending mix of rock, hip-hop and blues. Arguably his most successful song as a solo artist, the single reached number one on both the US Billboard Mainstream Rock and Modern Rock tracks charts and peaked at # 13 on the Billboard Hot 100. This 7' single also featured a b-side, "Ends," the second single from the same album.

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

Daniel Hope's latest album "Irish Roots" embodies his deep connection to Ireland, which he inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although he has never lived in Ireland, Hope's fascination with Irish culture led to the making of the documentary "Celtic Dreams: Daniel Hope's Hidden Irish Story".

Supported by musicologist Olivier Fourés and experiences with the award-winning Irish band Lúnasa, Hope explores the interplay between folk and classical music. "Irish Roots" reflects this journey, presenting compositions by Ina Boyle and Turlough O'Carolan alongside classics such as "Danny Boy" and Vivaldi's L'estro armonico concertos.

Daniel Hope is joined on his new album by a stellar line-up of guest artists including Lúnasa, harpist Siobhán Armstrong, flautists Sir James and Lady Jeanne Galway, singer Rea Garvey, multi-instrumentalist and folk musician Ross Daly, fellow violinist Simos Papanas and the Thessaloniki State Symphony Orchestra conducted by Daniel Geiss

#3 UK ROCK CHART / #5 UK INDEPENDENT CHART / LATEST SINGLE 'THE RIVERBOAT MAN' PLAYLISTED BY PLANET ROCK / 4/5 REVIEW FROM KERRANG! / 4/5 REVIEW CLASSIC ROCK - #1 UK BREAKERS CHART / #3 UK ROCK CHART / #5 UK INDEPENDENT CHART / #15 UK PHYSICAL ARTIST ALBUM CHART / #17 UK CD CHART / #17 UK ALL PHYSICAL ALBUM CHART / #23 UK VINYL CHART / ALL WITHOUT ANY NATIONAL DISTRIBUTION UNTIL NOW - Established in 2014, These Wicked Rivers are Derby’s entry to the new wave of rock and roll that is sweeping across the United Kingdom. Drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances, timeless songcraft and… lampshades.

Following their 2020 collaboration on "Real Bad Boldy", prolific Detroit rapper Boldy James and LA producer Real Bad Man are back at it with their new album "Killing Nothing". Picking up right where they left off, the two are creating a music score to a gritty, grimy and filthy street tale, recruiting accomplices CRIMEAPPLE, Knowledge The Pirate, Rome Streetz, and Stove God Cook to add further depth and diversity to the album's sonic landscape. Each guest artist brings their own unique style and perspective to their respective tracks, enhancing the album's richness and variety.

The collaborative masterpiece between rapper Boldy James and producer Real Bad Man blends gritty lyricism with innovative production. Boldy James, known for his intricate storytelling and vivid street narratives, brings his raw authenticity to every track, painting vivid pictures of urban life and survival. Real Bad Man's production style, characterized by its eclectic mix of boom-bap beats, soulful samples, and experimental soundscapes, provides the perfect backdrop for Boldy's wordplay.

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

Re-Release of Rammstein's second studio album "Sehnsucht" including global hit singles such as "Du hast" and "Engel" with new 2023 mix of "Spiel mit mur". Includes 40pg booklet, spot gloss varnish, perfect bound sewn booklet on 150gsm matt coated paper, hot foil printing with standard silver foil on the front & on the spine of the outer wrap. Formats; CD, LP. The CD comes in a Blu-ray-sized 8-panel digipak with a 40-page booklet and an embossed silver foil slipcase. The 40-page booklet features numerous unpublished and re-edited portrait photographs by artist Gottfried Helnwein. The black 2LP comes in a triple gatefold with a 40-page booklet and an embossed silver foil slipcase. The 40-page booklet features numerous unpublished and re-edited portrait photographs by artist Gottfried Helnwein.

All Black Everything, the debut EP by UK-based, Parisian bassist, vocalist and composer Amy Gadiaga, is an expansive, boundary-pushing 5-track collection showcasing prodigious bass playing and a voice brimming with power and emotion. It's a profound exploration of self-acceptance that presents both a celebration and acknowledgement of Gadiaga's deep-seated darkness.

Inspired by the 2020 Black Lives Matter movement All Black Everything confronts racial identity complexities and the challenges of being a societal 'black sheep' and sees Gadiaga courageously transform her insecurities into a narrative of self-empowerment.

Born to parents of Senegalese, Gambian, and Malian descent, and hailing from the outskirts of Paris, the multitalented Gadiaga has been making waves in the UK music industry since she moved to London aged 18. With a fresh and unique style that bridges the old school jazz tradition of musicians such as Betty Carter and Wayne Shorter with the raw, rootsy modern sound of artists such as D'Angelo, Stevie Wonder and Twinkie Clark, Gadiaga's breadth of ambition and revitalising approach have brought early critical acclaim and ardent fans.

Signalling the arrival of a significant new voice on the London music scene, All Black Everything communicates the liberating essence of embracing individuality and presents a journey through Gadiaga's personal struggles, standing as a testament to art's transformative power and encouraging listeners to find strength in their uniqueness. "All Black Everything is very much an exploration and embracing of one of my archetypes in life which is the black bird/black sheep" she explains. "That feeling of not thinking you belong anywhere, of being misunderstood and really tending to your own. No helping hand. But it's ok sometimes because you also feel like nobody can compete with you, you're one of a kind."

Repress!

HERBERT HUNTER will be forever worshiped by the UK Northern Soul scene for his anthemic 45 'I Was Born to Love You', recorded in the home of country music, Nashville, in 1967. Sometimes things are just meant to be and they collide in perfect harmony. 'I Was Born To Love You' is a case in point. The perfect lyric - 'I Was Born To Love You, You Were Born To Tear My Heart Apart' - the perfect beat, and perfect timing as it crashed onto these shores in the summer of '76 when Northern Soul was at its zenith and Wigan Casino owned the All-Nighter scene! But, Hunter is no one-trick pony, as his list of collectable 45s bears testament, not least 'Happy Go Lucky', also on Spar. Hunter was part of Ted Jarrett's roster of artists and, under Jarrett's stewardship recorded a string of cover versions under the pseudonym Leroy Jones for the neighbouring budget label 'Hit'. He learnt much of his trade from established artists and label mates such as Gene Allison who he toured with as minder and nursemaid, due to Allison's drink problem. Often, when they arrived a venue, Allison was too drunk to perform and Hunter would step in for him.
For our B-side we've chosen a lesser known, but no less wonderful and gritty Northern Soul dancer 'I Know The Feelin'' by THE JADES. Currently very much in demand with a mint copy selling earlier this year for over $900. We know little about The Jades who recorded this incredible slab of up-tempo soul for Ted Jarrett's Poncello label in 1964 featuring, of course, Herbert Hunter's booming lead vocal.
Many thanks to Fred James for making this superb double-sider possible.

After two fantastic releases on HOUSEWAX it's was now the right music and time to bring this great artist to CHIWAX!
Juno Dreams EP is a trip back to the best days of this genre.

Diggers Society is an underground electronic music label based in Barcelona. This debut release encapsulates the label's musical philosophy, featuring two tracks produced by legends Francesco Farfa and Miki (in collaboration with Niki IL B and Andrea Melly), and two tracks produced by talented artists from the new generation such as Luca Piermattei and Lucio. The result is a complete EP, featuring 4 different dancefloor-oriented productions, each one for a different moment of the night.
Artwork by @designattitude_graphic

F-BOMBS RECORDS has landed! A spin-off of the Foundations Series events that have been running across London the past 2+ years. Similarly to the Foundations Series events, the label will be a home of multi-genre artist releases with a nod to all the classic eras of UK dance music brought firmly up-to-date.

SWANKOUT has been moving at paces, riding the charts the last couple of years with releases for the likes of Hardcore Energy, Top Drawer Digital and Pete Cannon’s N4 Records - which saw his Swankout EP sell out of vinyl in just 24 hours! He’s also notably just remixed Shadow Child & Mark Archer’s “I know You” on UTTU’s sub-label Dancetrax and his forthcoming The Criminal Minds collab is gaining much hype.

Here Swankout demonstrates his diversity in taste and production style by lending his hand to UKG with the aptly named “The Speed Garage EP”. A 4-tracker that imbues classic speed garage, with rumbling basslines, weighty breakdowns, gunshots and a hint of jungle. Heads will note the reference of lead track Rude Bwoy Monty to the original jungle don R.B. Monty.


F-BOMBS001 - SWANKOUT - THE SPEED GARAGE EP

A1. RUDEBWOY MONTY - Moody build-up into an unforgettable breakdown of police sirens and rising tension, conjures up memories of early morning raves and raids across London and the greater M25 perimeter.

A2. LOVE COMMANDS - A steppy dancefloor bouncer, pure summer vibes for the love dove generation.

AA1. GUNSHOT - All the elements of a classic speed garage stomper. Warped bassline, pitched/chopped vocals, gunshots and a lot of attitude.

AA2. APPROACH PHASE - Fasten your seatbelts and assume approach positions. A track that invokes a sense of nostalgia for dancefloors long gone.

Next Polyamore Recs release comes from Costariva, a really interesting project from Bologna (ITA).

‘Pantera’ intended to transport the listener into the midst of the vibrant paths of a dancing journey to the sound of Italo-disco rhythms, bringing body and soul back to the belle époque of Italian disco music.

“Miscela originale” is a blend of Catchy bass lines and shimmering melodies, amalgamated by the colours of strings and synths, the track is the result of the artistic blend between the music produced and arranged by Federico Franciosi and the words skilfully framed with an ironic and boisterous vein by Giorgio Michele Longo (aka Giargo) and Francesco Zaniboni (aka Dj Rou).

“Rivisitazione adriatica” has a catchy, sexy groove and a horns part that let you go on summer nights.

“Sam Ruffillo Rework” is a dancefloor ready track for your best peak-time in the next summer season festival.

‘Pantera’ is also intended as a veiled homage to one of the greatest and most underrated innovators on the Italian and international music scene, Pino D’Angiò.

With its infectious rhythm and playful spirit, ‘Pantera’ promises to make listeners dance and smile, instilling a little healthy and amused nostalgia in all travellers of the night.

"Two-pronged, remix attacks don't come much more exciting and potent than this... as here - thanks to our good friends at Nervous NYC - we're beyond hyped to bring you the legendary Masters At Work and Dave Lee on one single, fully weaponised package.

Putting their own, inimitable spins on Louie Vega's ˙Music Is My Life˙ - which features the unique talents of Unlimited Touch - we're treated to a pair of wonderfully complimentary, but no less idiosyncratic re-rubs from these two stalwarts of the scene.

With a production hand and artistic touch like no other - Masters At Work lead the way here, with their main remix. Characterised by that trademark looseness and deliciously warm, organic approach - their rework is awash with woozy psychedelia and layered so expertly, that getting lost in the music is both gloriously simple and an absolute pleasure. But no true Vega & Dope remix suite, would be complete without a bonafide Dub version. And for ˙Music Is My Life˙ - this sees the dynamite duo take proceedings down a distinctly more mesmeric and mood-laden path… one where the vocal is instead used as a powerful rhythmic weapon, and the star of the show, is a surreptitiously morphing and shape-shifting, delicately acid-laced synth lead.

Next up - having recently switched his attentions to productions under his own namesake - is Z Records' head honcho, Dave Lee. Snapping into life with its crisp and punchy drum work - what Lee's remix does share with that of the Masters is in the over-arching, tripped-out haze which douses proceedings. However - where his remix opts to stick its head well and truly above the parapit, is in it stylistic flavouring. As when it comes to slicing that genre cake, so to split the worlds of Disco and House perfectly down the middle - there's simply no one who does it finer.”

First release in 5years by Snaker, and the catalog counts 11nd.

This title features a joint work release by 2 artists, KOOLMFL and Sonic Weapon who also been busy with their releases on Powder’s Thinner Groove label. Their approach to express “Contemporary library sound” was to experiment with various way to create funky collages, Trippy beats, groovy or anti-groovy loop arts, and fragments of noise and scratch. The sound is going everywhere but consistent as a sound library to Get On Down.

Chapter Two/No Sleep is the successor of "A New Chapter" - the second Various Artists EP. This time onboard: Audio Units, talented producer duo from India, anonymous stunning techno Linear System and Tangram, a young techno DJ, Producer and Mastering Engineer based in Cologne. This EP is recommended to play on loud sound systems.

Foundation ska from the cradle of Jamaican music...

Federal Recording Studios nurtured the talents of innumerable Jamaican artists in the early sixties... this set showcases seriously sought after rarities and previously un-released tracks from Don Drummond, The Maytals , Lynn Taitt and many more

Nueva referecia del sello kunda, elegancia, contundencia y diversidad sonora.


Para esta ocasion contamos en Cara A con una colavoracion de dos artistas de alto calibre Sexual Relates y Vikks.Nos traen "Tormento", un track potente y oscuro con la voz original del grupo guatemalteco Obsolescencia programada de su tema Repulsion.


A continuacion tenemos una nueva formacion BLACKOUTband , con un tema electro e.b.m ,rompe pistas bajo el titulo postapocliptico " No Hay Salida" .

En la cara B contamos con R1D productor Madrileño que nos trae un viaje astral que nos trasporta a edades antiguas de la tierra atraves de puro tekno tribe.


Por ultimo Hiry un viejo conocido en la esecena free party manchega. Nos trae un track epico lleno de sonido Hardcore a 140 bpms para pistas duras y nostalgicos de los viejos tiempos.

“Gun The Man Down ” by Dice The boss aka Pama Dice was first released in 1969 on the Trojan sublabel Joe with the track “Thief” by Joe Mansano on the B side. “Thief” is also reissued by us on a separate single dedicated to Joe Mansano.

“Your Boss DJ” was also released in 1969 on the Joe Label with the track “Read The News” by Joe All Stars on the flip.

Both titles are skinhead reggae classics that have never been reissued until now.

About Joe Mansano:

“Gun The Man Down ” and "Your Boss DJ" were both credited to Joe Mansano, real name Joel Mansano, who also produced the songs. Joel was a Trinidadian who moved to London in 1963. He was a record shop seller, song writer and producer and became heavily involved in the early reggae era producing and writing tracks for several Jamaican artists, enough for Trojan to dedicate a label to him: the “Joe” label aimed at the emerging Skinheads market. He also owned a shop the Joe's Record Centre in Brixton and recorded two handfuls of singles under the name Joe The boss…

About Dice The Boss/ Pama Dice:

Not much is known about Dice The Boss. His real name was Hopeton Reid and he was alternatively known as “Pama Dice”. But we know more about Pama Dice thanks to Gaz Mayall!

"Pama Dice was one of Prince Busters ‘no-shoes’ ‘Sunday school gang in west Kingston Jamaica. According to the Prince there wasn’t a car that Pama couldn’t nick. He used to nick the cars uptown with no shoes on & take them to the ghetto to teach the youth to drive. They were called the Sunday school or no-shoes gang as they were so poor that they only had one pair of shoes each & only wore them to church on Sundays. Pama Dice rose in the ranks to become one of Prince Busters main sound system DJs before emigrating to London in the late sixties where he MC’d for Duke Vin & recorded many great records for the UK/Jamaican booming new Reggae market in its infancy on the shoulders of the Bluebeat & Ska & Rock Steady music scene."

Source Gaz Mayall 27/2/2021

2025 Repress

Operation Sole like the summer, hopefully, imminent; “Operazione Sole” like the 1967 song by Peppino Di Capri, considered, perhaps wrongly, the first ska in Italy, but certainly the first to talk about Jamaica and upbeat rhythms.
The record you have in your hand is intended to be a testimony to how much the sounds born in Kingston between the '60s and '70s had a significant influence on local pop.
With the first explosion of reggae in England between 1968 and 1970, as well as with the rise of Bob Marley to a worldwide cult phenomenon, parallel to the all-English phenomenon of Two Tone and the ska revival, Italy, always attracted by the new trends not only English, he certainly couldn't stay on the sidelines.
Therefore these innovative and unknown upbeat sounds, derived from the blues of the 1950s and mixed with a Caribbean sauce, have also taken hold in the Bel Paese.
It began as early as 1959 with the song “Nessuno” by Mina, considered to all intents and purposes a Jamaican shuffle, to arrive in a few years at blue-beat (I4 di Lucca, Claudio Casavecchi) and ska (Margherita, Peppino Di Capri , Silvano Silvi, Renzo and Virginia) and be exposed to the first reggae (for example Jo Fedeli and his Italian version of “Israelites” by Desmond Dekker). Thus, we quickly reach the end of the decade of the economic boom and the culture, styles, references change: everything becomes more busy (on a cultural, artistic and political level).
After a stalemate phase that lasted more than five years, Bob Marley's reggae (considered a sort of new Messiah) conquers the planet, including Italy: the producers and artists, even at a high level, for a few years do not remain at all indifferent to this novelty and decide to introduce the "upbeat", primarily reggae, into the various pop repertoires: well-known names such as
Loredana Bertè, Mario Lavezzi, Rino Gaetano, Ivano Fossati, Ilona Staller, Adriano Celentano, Edoardo Bennato throw themselves headlong into new sonic adventures, in a pioneering way, but often with excellent results.
The "Operazione Sole" collection wants to take the credit, instead, of proposing and discovering lesser-known artists (with the exception of Gino Santercole, former associate and relative of Il Molleggiato), often real meteors in the Italian musical panorama, who have tried to achieve (or achieve again) success by adapting the pop that was so popular in those years to the new black sounds prevailing in the West.
We are in the early 80s and we range from the most classic reggae, to Italo-disco contaminated by dub up to the true Neapolitan style which, on more than one occasion, in its being endemically "black" and full of groove, has wrung out the watch out for agreements made in Kingston and London.
“Operation Sun”: a pleasant philological work, but surrounded by an equally pleasant aura of disengagement.

Nanga Boko Records is very proud to present you "Njitna !" ("I'm Coming" in Bamoun
vernacular langage of Cameroun), the official compilation of the finest early recordings (1979/1980) of the Cameroonian composer & musician Théodore Mounta, known on scene as "Ometh".

Deluxe hand-numbered edition, limited to 500, includes a bonus track never released on vinyl before!

Each record comes with an insert that includes exclusive pictures and very detailed biographies in both English and French languages and an HQ Digital Download Card.

Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga Boko Records

"Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. "Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.” – Leah B. Levinson

Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

Pressed On White (Lp1) & Red (Lp2) Vinyl. How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around.

A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix – Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88

Repress!

The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process.

These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80's electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory.

The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover.

On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since it's 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes.

Burning Hell was recorded in 1959 in Detroit, MI, but wasn't released until 1964. Even then, it was only available in the U.K.. This 180-gram vinyl pressing marks the first official single LP worldwide release the album has seen. Pressed at QRP as part of the Bluesville Records / Acoustic Sounds series, the album features Hooker solo as he plays originals and classics. AllMusic states that, on this album, "Hooker shows himself to be an excellent interpreter who could have held his own with Delta bluesmen of any era."

Craft Recordings, in partnership with Acoustic Sounds, is releasing Burning Hell as part of the Bluesville Series. Bluesville is a brand-new hub for all things blues, including vinyl reissues, curated playlists, and more! Inspired by the original label imprint established under Prestige Records in 1959, the Bluesville Series will highlight the many trailblazing musicians who contributed to the rich tradition of the blues, including titles from legendary artists on labels such as Vee-Jay, Riverside, Vanguard, Stax, and Rounder Records.

The albums in the Bluesville Series are pressed on 180-gram vinyl at Quality Record Pressings and feature all-analog (AAA) mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios, plus a tip-on jacket and obi strip with notes written by Grammy-winning producer, writer and musician Scott Billington.

Nick Garrie was an unknown backpacker until his music was discovered in the late ’60s while busking in the South of France. Recognising his talent, work on a collection of recordings followed which would culminate in his legendary debut album The Nightmare of J.B. Stanislas. Set to be released in 1969 on the influential French label Disc’Az, however due to the suicide of the label’s founder, Lucien Morisse, shortly before the album’s release date, only about 100 copies of this psych pop/soft rock masterpiece came into circulation. It became a cult album in the truest sense and was finally reissued almost 40 years later. With the death of Morisse, Nick took some time away from recording only to return under an alias, writing with Oscar and Golden Globe winning composer Francis Lai. His directory of credits only grew as he worked with Paul Samwell-Smith (The Yardbirds), Alun Davies (Cat Stevens’ Band), drummer Gerry Conway and Leonard Cohen. Nick Garrie grew his audience in Europe, penning an album that would top the charts in Spain. In 2005 the album The Nightmare of J.B Stanislas was reissued, achieving critical acclaim from The Independent, BBC & Record Collector. Nick’s resurgence combined with fascination of his back story led to a new generation of music fans and musicians appreciating Garrie’s work. In this tim he was collaborated with the likes of Duglas T. Stewart (BMX Bandits) Norman Blake and Francis McDonald (Teenage Fanclub) and Gary Olson (The Ladybug Transistor). Now, for the first time ever, the classic title track is to be released as a 7” single. It is also the first ever vinyl release of Nick’s work on a UK label. The B side is a song close to Nick’s heart Around the World. This track was also written in the ’60s but had never been recorded before. It was recorded at Nick’s home in late 2023 with the help of fellow 9X9 recording artist Jamie Whelligan and musician/producer Nick Frater.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

Love, Love, Love, Love will make you walk a thousandcmiles to be with her. She is the wisdomcyou long to have, the courage you nevercthought you had. Love is peace, she is patient, she is Kind. Love will heal that infected wound that you long gave up on to heal, more powerful than any weapon of mass destruction. Cuddled up in her grasp, her tears will roll down your face. She’s the real deal. She will fight for you, she will carry the sword for you, She will walk a thousand miles for you. She is sweet, very sweet. Welcome to Jaqee 6th and final album, a closure of a chapter in my artistry so far. This is not the end, it’s just a crossroad that is proudly and lovingly directing me into an unpredictable future. I felt a strong need for healing on this album, so I made way for Vulnerability. I have opened doors that are to be obediently followed as I dig deeper in the understanding of the one thing that we humans yearn so much for. Love is King.

For fans of Pan Amsterdam, Edan, Homeboy Sandman, Sleaford Mods etc. Features the singles ‘Baby Don’t’ ft. Sonnyjim & Quelle Chris and ‘Space-Bar’ ft Pan Amsterdam. Blessing/curse. Division/unity. Love/hate. It’s in the context of a polarising 24-hour, digitised, globally connected world that NightjaR finds its wings. NightjaR being the nom-de-plume and smudged rainbow constellation of collaborative copy-and-paste sound-wrangling and hip-hop from Doves’ Jimi Goodwin. But it’s here and it’s Mala Leche. Mala Leche (Spanish: Bad Milk) is 16 tracks of beats and bars, vocals provided by some of the hip-hop artists at the very top of Jimi’s own, personal home listening lists and interludes that throw back and forth through eras and genres in sometimes playful, occasionally awakeningly abrasive styles.

Two years after the release of the Polarius EP Inner Voices Of A Clown, Danny Wolfers returns to Altered Circuits, this time under his best-known alias Legowelt, for Ruins Of Cracktopolis: a collection of "hymns to survive the dystopian circus of today's techno scene" in the artist's own words. On Do You Know Who You Never Be, a short staccato lead and dark chords revolve around a monolithic kick drum pattern that takes care of the cadence and bass. A mysterious vocoder and a laser sequence that gets torn and twisted to the max join, but the track never loses its steady pace - it gets help from shakers so much mixed to the front they could be lifted from a B'more track.

Amidst the effervescing 303 lines and bold drum sequences of In A Trance Dance All Night" Wolfers finds a canvas for a stretched synthesizer jam with eighties breaking allure. This melody, together with the pads and vocal, are drenched in reverb - they float like mist ascending from the The Hague dunes. Throughout Ruins Of Cracktopolis, more vintage Dutch West Coast, the hiss-laden broken beat that guides the bass sequences and ominous blippy synth patterns switches to a 4/4 structure and back. These make for captivating shifts in pace while the minor progressions continue unfolding. Like Twin Peaks targets prime energy once the arpeggiator sequence present from the start lowers an octave. The track runs smooth like a pomade slick-back; it's only tempered slightly when the crunchy kick and tom change place for a moody chord sequence break. Even if these four tracks target the club, they are equally suited for - quoting Wolfers again - "leisurely home listening". Their greatest strengths are, as so often, their melodic aspects.

The artist is known to be a synthesizer aficionado, but his unique personal touch immediately shines through no matter which gear he works with. The machines never seem to dominate the composing process; quite the opposite: it's as if he isn't programming or registering as much as trying to teach them his take on electronic music.