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Die US Metal-Legende Warlord wurde im Jahre 1981 von Mark Zonder und William J. Tsamis gegründet. Ein Jahr später, 1982, erschien der Song "Lucifer's Hammer" (basierend auf einem Roman von Larry Niven und Jerry Pournelle) auf der prestigeträchtigen Compilation "Metal Massacre II". Als Resultat unterzeichneten Warlord einen Kontrakt bei Metal Blade Records und nahmen ihre erste Mini-LP auf. "Deliver Us" erblickte 1983 das Licht der Welt und gilt heute als Blaupause des "Epic Metal" (zusammen mit Manilla Road, Cirith Ungol und Brocas Helm gelten Warlord als Erfinder jenes Stils). Nach zwischenzeitlicher Auflösung erschien im Jahre 2002 das starke Comeback-Album "Rising Out Of The Ashes", erst elf Jahre später gefolgt von "The Holy Empire". "The Holy Empire" sollte das letzte Warlord-Studioalbum mit neuem Songmaterial bleiben, denn Bandgründer William J. Tsamis verstarb am 13. Mai 2021 im Alter von nur 60 Jahren. Allerdings erschien danach noch ein weiteres Warlord-Album, nämlich "The Hunt For Damien" im Jahre 2015. Darauf zu hören ist als Sänger Nicholas Leptos (u.a. auch bei Astronomikon, Prodigal Earth, Gangland und Diphteria tätig). Das jetzt erscheinende "Free Spirit Soar", welches auch zwei überarbeitete Nummern von Lordian Guard enthält, ist ein Tribut von Sänger Giles Lavery an das musikalische Erbe von Bill Tsamis. Er wird dabei unterstützt von Mark Zonder (Drums), Jimmy Waldo (Keyboards/Synthesizer), Phillip Bynoe (Bass) sowie Eric Juris (Gitarre). Alle Songs wurden zwischen März und September 2023 aufgenommen.

Giles Lavery, der auch als Produzent fungierte, erklärt die Entstehungsgeschichte des Albums im Detail: "Unser erklärtes Ziel als Band war es, diese Musik für Bill fertigstellen. Und das vorliegende Material erschien uns ohne Frage stark genug, um uns dazu zu inspirieren. Bill ist bei allen Gitarrenparts zu hören, bei denen es uns möglich war, sie von den ursprünglichen Demo-Recordings zu isolieren - ganz so wie die verbliebenen Beatles die Stimme von John Lennon vom einem alten Demo-Tape zu retten in der Lage waren. Der Großteil der Gitarrenpassagen auf "Free Spirit Soar" wird zwar von Eric gespielt, aber die gesamte Musik stammt aus der Feder von Bill. Und wir haben uns wirklich sehr darum bemüht, seine Arrangements möglichst originalgetreu umzusetzen."

Line-up: Giles Lavery - vocals Eric Juris - guitars Philip Bynoe - bass Jimmy Waldo - keys Mark Zonder - drums

Die US Metal-Legende Warlord wurde im Jahre 1981 von Mark Zonder und William J. Tsamis gegründet. Ein Jahr später, 1982, erschien der Song "Lucifer's Hammer" (basierend auf einem Roman von Larry Niven und Jerry Pournelle) auf der prestigeträchtigen Compilation "Metal Massacre II". Als Resultat unterzeichneten Warlord einen Kontrakt bei Metal Blade Records und nahmen ihre erste Mini-LP auf. "Deliver Us" erblickte 1983 das Licht der Welt und gilt heute als Blaupause des "Epic Metal" (zusammen mit Manilla Road, Cirith Ungol und Brocas Helm gelten Warlord als Erfinder jenes Stils). Nach zwischenzeitlicher Auflösung erschien im Jahre 2002 das starke Comeback-Album "Rising Out Of The Ashes", erst elf Jahre später gefolgt von "The Holy Empire". "The Holy Empire" sollte das letzte Warlord-Studioalbum mit neuem Songmaterial bleiben, denn Bandgründer William J. Tsamis verstarb am 13. Mai 2021 im Alter von nur 60 Jahren. Allerdings erschien danach noch ein weiteres Warlord-Album, nämlich "The Hunt For Damien" im Jahre 2015. Darauf zu hören ist als Sänger Nicholas Leptos (u.a. auch bei Astronomikon, Prodigal Earth, Gangland und Diphteria tätig). Das jetzt erscheinende "Free Spirit Soar", welches auch zwei überarbeitete Nummern von Lordian Guard enthält, ist ein Tribut von Sänger Giles Lavery an das musikalische Erbe von Bill Tsamis. Er wird dabei unterstützt von Mark Zonder (Drums), Jimmy Waldo (Keyboards/Synthesizer), Phillip Bynoe (Bass) sowie Eric Juris (Gitarre). Alle Songs wurden zwischen März und September 2023 aufgenommen.

Giles Lavery, der auch als Produzent fungierte, erklärt die Entstehungsgeschichte des Albums im Detail: "Unser erklärtes Ziel als Band war es, diese Musik für Bill fertigstellen. Und das vorliegende Material erschien uns ohne Frage stark genug, um uns dazu zu inspirieren. Bill ist bei allen Gitarrenparts zu hören, bei denen es uns möglich war, sie von den ursprünglichen Demo-Recordings zu isolieren - ganz so wie die verbliebenen Beatles die Stimme von John Lennon vom einem alten Demo-Tape zu retten in der Lage waren. Der Großteil der Gitarrenpassagen auf "Free Spirit Soar" wird zwar von Eric gespielt, aber die gesamte Musik stammt aus der Feder von Bill. Und wir haben uns wirklich sehr darum bemüht, seine Arrangements möglichst originalgetreu umzusetzen."

Line-up: Giles Lavery - vocals Eric Juris - guitars Philip Bynoe - bass Jimmy Waldo - keys Mark Zonder - drums

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.
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Building on forty years years of GBV history, the majestic and triumphant Strut Of Kings is the forty-first album by indie rock royalty Guided By Voices. Largely recorded in Kings County, New York (Brooklyn), the album is perhaps a gesture towards the malevolent “kings” on the world stage. As the “Serene King” waltzes across the battlefield, Emperor Pollard evokes castles, King Kong and strutting roosters, a surreal yet regal journey.

The hugo toolbox - A lasting place.

Just as my dad with words unspoken gave the tools to me, I’m passing these down to you.

A place to keep ideas safe, to hold the music, to give you space away from your phone.



Contents:

• 1x Toolbox

• 1x Chess Board with Custom chess pieces (Made by Sunny)

• 1x Incense (Made by Cremate)

• 1x Incense Burner

• 1x hugo car key with keychain

• 1x Pin Badge

• 1x Certificate of authenticity

• 1x Notebook

• 1x hugo Process Book

• 1x Georgetown Flexidisc

• 1x Plastic Flexidisc

• 1x hugo: reimagined (Live at the Royal Albert Hall) Vinyl LP

• 1x hugo Picture Disc Vinyl LP

• 1x Hidden Message

Neue Midnight Haze-Farbvariante der Debüt-LP des kanadischen Emo-Trios Arm's Length, 'Never Before Seen, Never Found Again' aus 2022, die mit EPs wie 'What's Mine Is Yours' (2019) und 'Everything Nice' (2021) für Furore in den einschlägigen Magazinen von Pitchfork bis NPR sorgten. Grossartiger, neuer Indie-Emo-Sound mit Pop-Punk-Anklägen.

* CASSETTE VERSION **
Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfect soundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

"Although life is hyper-individualised, you rarely go about it alone. This rings especially for RADIOHOP, the 4-man band drawing in everything that derives from Jazz. Aptly titled, ‘All We Do’ sees the band culminating each member’s journey through life as a performer and music head, into one entity. It is a collection of various musical feelings; drawn from all of the widely diverse musical environments they are surrounded by. Their early explorations in Hip-Hop laid the foundation RADIOHOP jetted from. All We Do ventures into Soul, Funk, Jazz, Broken Beat, Brazilian harmony, Fusion and other genres that they see connections with. It engenders a journey through the peaks and troughs of a modern musical spectrum and is an undeniable act of successfully approaching a contemporary Jazz album.

Together, they drew on Jazz as a concept existing outside the walls of formality. In addition to sessions and gigs with like-minded musicians, they explored the Amsterdam nightlife and genre-bending concerts for inspiration. This 3.5-year exploration brought them unconventional writing, producing and performing experiences resulting in All We Do being as much a presentation of the people accompanying them on this exploration, as it is about the journey itself.

RADIOHOP are constantly surrounded by other musicians and creatives from all different genres, disciplines, and spaces. The album is a celebration of the creative, and the ecosystem they operate in. The band likes to root that in the philosophy of Hip-Hop: spoken word, rap, vocals, lyrics, flute solos, photography, digital art, graphic design, tagging and poetry all congregate on the limited vinyl, as they truly believe art should not see any material boundaries. All We Do appreciates the art and the artist's creative endeavour. RADIOHOP gladly shares that with others in a holistic creation that is this album."

Skylax Records Is Overjoyed to Introduce the Exceptionally Talented Irish Producer, Hammer, to Its Esteemed Roster. This Rising Star, First Brought to the Forefront by the Influential Bicep Crew, Has Been Making Waves in the Electronic Music Scene With Numerous EPs Released on Renowned Labels Such as Optimo Music, Sulta Select, Shall Not Fade, And, of Course, Feel My Bicep, Among Others. Hammer's Distinctive Style Has Gained Him a Dedicated Following Within the Leftfield and Italo-Disco Communities, and His Upcoming 12-Inch Release Is Poised to Set Dance Floors Ablaze. the Ep Kicks Off With "Swerve," a Track That Effortlessly Channels the Pure Essence of Bicep's Iconic Style. the Rich, Immersive Soundscapes and Dynamic Composition Capture the Spirit of the Duo's Renowned Productions, Delivering a Nod to the Genre's Roots While Propelling It Forward. Next Up, We Encounter "Swivel," a Genuine Italo-Disco Gem. With Its Lush, Retro-Infused Synths and Irresistible Basslines, This Track Pays Homage to the Italo-Disco Era That Continues to Influence and Inspire Contemporary Electronic Music. "Swivel" Is a Sonic Time Capsule, Transporting Listeners to the Heyday of This Beloved Genre. Flipping Over to the B-Side, We Have the Outstanding "Tbilisi," a Probable Tribute to the Vibrant and Ever-Evolving Electronic Music Scene in the Bustling City of Tbilisi, Georgia. Hammer Masterfully Crafts a Sonic Narrative That Captures the Essence of the Scene, Incorporating Elements of Techno, House, and the Avant-Garde. This Track Is a Testament to Hammer's Versatility and Ability to Seamlessly Navigate Different Musical Landscapes. the Ep Reaches Its Conclusion With "Push Repeat" Takes Center Stage. This Electrifying Track Promises to Be a Sensation on the Most Discerning Dance Floors, With Its Driving Beats, Infectious Melodies, and Undeniable Energy. Hammer's Mastery of Groove and Rhythm Is on Full Display in This Opening Number, Setting the Tone for What's to Come. in Sum, Hammer's Upcoming Release on Skylax Records Is Nothing Short of a Masterstroke. It Not Only Solidifies His Position as a Standout Talent in the Electronic Music Realm but Also Highlights Skylax's Commitment to Delivering Innovative and Genre-Defying Sounds to Discerning Listeners. This Ep Is Poised to Become an Essential Addition to the Collections of Music Aficionados and a Testament to the Ever-Evolving and Boundary-Pushing Nature of the Contemporary Electronic Music Landscape. Get Ready to Embark on a Sonic Journey Through the Mind of Hammer, and Experience the Future of Dance Music....

Hailing from France with Moluccan roots and now based in Amsterdam, Pala.G effortlessly blends global musical influences into his own unique sound, moving free like the waves that guided his ancestors halfway across the globe. Now with his debut on Jiwa Jiwa Records.

In SOMETIMES Pala.G infuses contemporary R&B with psych elements, delivering hazy vocals, and introspective lyrics wrapped in feel-good melodies, leaving you grasping for the repeat button on this soul not soul anthem that's an earworm for every season.

DON'T ASK !!! offers an off-kilter slow jam experience like no other, with sparse drums, smooth guitar licks, and distorted vocals creating a hypnotic atmosphere for your mind to wander.

The record comes in a hand stamped sleeve in different colors,representing the Moluccan sea, its beaches, and jungles, and the blood and spirit of their ancestors.

Music From Memory is pleased to announce the upcoming release of ‘Salt And Sugar Look The Same’, a collaborative album from Tim Koh and Sun An.

Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012.

‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens.

Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need.

Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories.

‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.

Sleeve art by Brian DeGraw, design by David McFarline.

Record Store Day repress!

Emerging from the undeniable pit of despair that is 2020, LADYMONIX offers up a brand new 4 track EP to lift your spirits and accompany your ever-evolving isolation as we head into an uncertain Fall.

CLUB NOWHERE begins with two meditative grooves that naturally rolled out from LADYMONIX's attempts to self-sooth during the early stages of lockdown. The confident basslines and swirling pads of the A1 title track and A2 'Mood' make a lush bed for you to curl up on.

Flip over the to the B-side and the underground therapy session continues with a little more signature 'Monix swing and attitude. 'Gonna Let' is one of those joints that creeps up on you and settles into your collection - the kind of track that makes you close your eyes and melt into your own space; future-tripping from your couch about clubbing again in 2021... To conclude, 'Movin On' lays out LADYMONIX's closing statement on the sorry state of global affairs: "I'm gone." -accepting the new-normal with a knowing musical eye-roll. Coz what else are you gonna do? Change what you can, accept what you can't, and whatever you do MAKE IT FASHION, HONEY!

8th Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual.



Comes with fresh Florencefunk Stickers!

Heavener', the fourth album 2023 by the Port Neches, Texas, metalcore band Invent Animate. The release follows their most recent single 'Elysium', which earned praise from RockSound "an atmospheric and pain-staking piece of modern metalcore brute force", Wall of Sound, and Heavy Mag. Their 2021 EP 'The Sun Sleeps, As If It Never Was' 2M+ streams earned praise from HM Magazine "a powerful discourse on the ricochet effect of trauma and addiction", Wall of Sound "dark in nature yet beautifully honest", and Blunt Magazine. 2020 full-length 'Greyview' has 10M+ streams. Additional praise from Kill Your Stereo, Frontview Magazine, Chaospin, Distorted Sound. Released independently via Australia's leading heavy music label UNFD.

Dj Pippi & Willie Graff present their sophomore LP Universal Language, continuing their pioneering experiments with the Balearic sound.
This duo of Ibizan royalty began their collaboration 17 years ago, connecting through a special enthusiasm for the freedom and diversity of Balearic music. Odd singles here and there found their way to the labels such as Compost, Leng and Archipelago but not until 2022’s Follow Your Dreams (Music For Dreams) did a longer release see light of day.

Now following up that celebrated debut, Pippi and Graff present a fresh batch of soulful, luxurious and highly original Balearica. Twelve tracks escort us through the duo’s manifold styles, modulated with subtle layers of eloquent instrumentation and effervescent synths.
Starting with the nebulous Latin-flavoured drama of ‘Un Buen Sueno’ featuring vocalist Carmen Cano. On through ‘N’Goni’, a luscious synth-chugger laden with the effortless artistry of guitarist Mikkel Nordsø.
There’s the shaded machine funk of ‘Golden Hour’, which introduces vocalist Jade PraiZe; the impossibly infectious sun-drenched house cut ‘Soul Free’; the beatless bliss of ‘Harmonized’; the downtempo exotica of ‘Let Me Show You’; the Balearic bossa of ‘Faz Favor’; or the timeless easy-breezy nothing-but-good-times title track.

2024 repress.

Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfectsoundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

fabric, the iconic hub of electronic music culture, proudly announces its latest addition to the fabric mix series: "fabric Presents The Streets". This eagerly anticipated compilation marks a milestone in the illustrious history of the UK institution, as they join forces to commemorate 25 years of groundbreaking club nights and genre-defining mixes. The release is accompanied by original material from The Streets in the form of two singles, the first to be shared is “No Better Than Chance”.

fabric Presents The Streets" is more than just a mix; it's a sonic journey through the pulsating veins of UK nightlife. Skinner's deft curation transcends mere selection; from the gritty beats of underground garage and bass music to the icy melodies of UK rap and grime, Skinner weaves together a tapestry of sounds that encapsulates the essence of fabric's legendary atmosphere. The compilation album will also be available in the iconic fabric CD tins.

fabric itself stands as a bastion of innovation and inclusion within the electronic music community. For 25 years, it has been a sanctuary for music lovers, a breeding ground for artistic evolution, and a beacon of diversity in an ever-changing landscape. Its impact on UK nightlife cannot be overstated; fabric is not just a club, but a cultural institution that has shaped the tastes and trends of generations. To commemorate the 25-year journey, fabric's labels will release a collection of exclusives. These will include five special ‘fabric presents’ compilation releases, ‘fabric Presents Shygirl’ was the first to be shared in March.

In addition to the mix album, fabric and The Streets unveil the brand new original single "No Better Than Chance," an electrifying track that encapsulates the spirit of both fabric and The Streets.

“I’ve spent many nights wasted but not wasted any nights in fabric over the years. The dedication to underground music and innovation, the way the bodysonic bass transducers sent the sounds through your body via your feet, the queues, the camaraderie and a real sense of being part of something that people will remember through the haze as the home of some of the greatest moments of their lives. When I was asked to do a mix for the anniversary series I couldn’t wait to get on with it. fabric has become one of the homes of bass music and that’s some of the music I’ve been playing out the most. It’s a pleasure to follow in the footsteps of so many incredible DJ’s in the fabric, FABRICLIVE and fabric presents series and be part of their celebration. Here’s to many more decades of hedonism.” - Mike Skinner

As fabric celebrates its silver jubilee, "fabric Presents The Streets" stands as a testament to the club's enduring legacy and commitment to pushing boundaries. This co

Baby Blue & Halloween Orange Vinyl. In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally.""Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "I-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh.""We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness_we can kinda surprise each other, like a good punchline would."

On their latest album, Sonido Cosmico, Hermanos Gutiérrez embark on a sonic exploration that defies the conventional boundaries of instrumental music. The collection is a richly textured tapestry, interwoven with the intricate threads of Latin rhythms and ephemeral atmospherics: each track a vignette, a carefully crafted narrative without words, where the brothers' transcendent guitars speak in a language all their own.

There is a subtle sophistication in the way Hermanos Gutiérrez fuses the elemental with the experimental. The album resonates with the echoes of their Latin musical heritage, yet it is undeniably contemporary in its execution, both nuanced and expansive.

Sonido Cosmico stands as a reflective mirror to the band's evolving artistry, united by music across age and geographical divides: a sound mosaic as celestial as its title, an expression of a band that has found its voice in the vast universe of modern instrumental music.

Compiled by legendary producer Arthur Baker, ‘Breakers Revenge’ is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere.

First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs – Kool Herc, Grandmaster Flash and Afrika Bambaataa – and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey’s ‘Scorpio’, The Jimmy Castor Bunch’s ‘It’s Just Begun’, James Brown’s ‘Get on the Good Foot’, The Mohawks’ ‘Champ’ sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa’s ‘Planet Rock’, and Arthur Baker’s own definitive ‘Breaker’s Revenge.’ Breakdancing has come a long way from its New York roots to its respected position as an art form today where, for the first time ever, it is to be featured in the Olympics held in Paris this August 2024.

The ‘breakbeat’ remains at the very heart of hip-hop, the mercurial funk, soul and disco tracks, always 100% guaranteed to get B-Boys, B-Girls and Breakdancers moving at any block party, with the percussive breakdown of each track the pinnacle soundtrack to any dance/battle between Breakdancers of any note. Similarly these tracks have been sampled many 1000s of times over by every hip-hop artist and producer of note. KRS-ONE, Marley Marl, Kanye West, Jay-Z, Public Enemy, Eric B, The Fugees, Outkast, Mos Def, Main Source, Jungle Brothers, LL Cool J, De La Soul and, well, everyone!

Compiler Arthur Baker played a pivotal role in hip-hop history when in 1982 he produced Afrika Bambaataa’s seminal ‘Planet Rock’ (as featured here), introducing electronic instruments into hip-hop for the first time ever and in the process created electro. After ‘Planet Rock’, Arthur Baker went on to remix or produce every major artist of note – from New Order to the Rolling Stones, Al Green to the Pet Shop Boys

Los York's became the epitome of Peruvian garage sound. Two of the best and wildest songs contained on their last LP had never appeared on a single despite their enormous potential for the dance floor and the interest they aroused among DJs since their rediscovery in the 60s scene. Set the dance floor on fire with the first time 45 issue of this Latin garage double-sider. DESCRIPTION After two successful albums on MAG, supported by a handful of singles, the Peruvian garage beat band Los York's culminated their disagreements with their label by leaving it in 1969 and signing a new contract with Virrey. Along the way there was an album to finish for which they had already recorded a good part of the instrumental tracks. "Los York's 69" finally saw the light of day on MAG but, to the surprise of its fans, the voice of its charismatic singer, Pablo Luna, had been replaced by that of the no less iconic Pablo Branda, also known as Melcochita. The all-round artist, trained in the studios of MAG as a skilled percussionist, guitarist and sonero, proved himself to also sing and shout with the same energy and attitude as the brilliant Pablo Luna. On top of that, it is rumored that it was another MAG artists, Los Teddy's, who actually completed the instrumental tracks for some cuts on the album, something that seems consistent with the much more energetic and surfy style of songs like 'El Sicodélico'. Two of the best and wildest songs contained on their last LP had never appeared on a single despite their enormous potential for the dance floor and the interest they aroused among DJs since their rediscovery in the 60s scene. Set the dance floor on fire with the first time 45 issue of this Latin garage double-sider: 'El Sicodélico' and 'El Loco'.

LP im Klappcover! Es war der Abstand - der zeitliche, räumliche und methodische - der Mac DeMarco zu "This Old Dog", dem ersten Longplayer seit "Salad Days" von 2014, inspirierte. Mit einer Handvoll Demos in der Tasche, die er in New York geschrieben hatte, zog er von Queens nach Los Angeles und realisierte nach ein paar Monaten in der neuen Heimat, dass dieser Abstand ihm neue Perspektiven eröffnete. Mac DeMarco sagt: "I demoed a full album, and as I was moving to the West Coast I thought I'd get to finishing it quick. But then I realized that moving to a new city, and starting a new life takes time. Usually I just write, record, and put it out; no problem. But this time, I wrote them and they sat. When that happens, you really get to know the songs. It was a different vibe." Mit dem Poppen und Klicken der CR-78 und dem akustischen Geklimper des Album-Opener "My Old Man" sowie dem von Synthesizern durchzogenen zweiten Song "This Old Dog" wird schnell klar, dass Mac DeMarco diesmal tief in die Trickkiste gegriffen hat. Auf "This Old Dog" sind die Synthesizer stärker verwurzelt als auf seinen bisherigen Releases, aber trotzdem achtet DeMarco sorgfältig darauf, dass diese den Rest der Instrumente und den "unplugged"-Eindruck des Albums nicht überschatten. Oder wie er erklärt: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly. I'm Italian, so I guess this is an Italian rock record." ENG Gatefold LP! This Old Dog by Mac DeMarco (A.K.A. 26-year old McBriare Samuel Lanyon DeMarco) is his third album and first full-length since 2014's Salad Days. The album opener "My Old Man" and title track "This Old Dog" show a new sonic direction and a glimpse into the very personal nature of this record. It was a little space-in time, location (he moved from Queens to Los Angeles), and method-that inspired DeMarco while making This Old Dog. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop that the gap was giving him perspective. DeMarco says, "I demoed a full album, and as I was moving to the West Coast I thought I'd get to finishing it quickly. But then I realized that moving to a new city, and starting a new life takes time. Usually I just write, record, and put it out; no problem. But this time, I wrote them and they sat. When that happens, you really get to know the songs. It was a different vibe." DeMarco wrote some demos for "This Old Dog" on an acoustic guitar, an eye-opening method for him. "The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar. So this is a new thing for me." And right from the offset, from the pops and clicks of the CR-78 and acoustic strums on the album-opening "My Old Man," and the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work. "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly. I'm Italian, so I guess this is an Italian rock record."

Richard Ashcroft"s fourth solo album "These People" became a fan-favourite in 2016, receiving great reviews and becoming a #3 album in the Official UK Albums Chart. His reunion with Wil Malone, who had previously worked on the string arrangements for The Verve"s seminal albums "A Northern Soul" and "Urban Hymns" added depth and emotional resonance to the album"s sound. Ashcroft demonstrated his continued relevance and creative prowess as a solo artist, reaffirming his status as one of Britain"s most enduring and influential musicians. Released on his Righteous Phonographic Association label via Cooking Vinyl, and now available on vinyl again in a 2LP special edition Clear and Blue Marble Vinyl effect, housed in a Gatefold sleeve.

Ltd. Purple & Black Splatter Vinyl. It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions. "It's focused on a couple things and they all kind of come together to represent dierent things," explains Saginaw. "My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them." While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present. "I don't want people to think I'm leaving anything," says Saginaw. "I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan." While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on "Barry White", which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds. Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt. "I think over the past four years, I can confidently say that I found my place here," describes Saginaw. "I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family,








f A2D (FT. ZEELOOPERZ & SILAS GREEN) AAPV






f A2D (FT. ZEELOOPERZ & SILAS GREEN) [AAPV]

It’s fair to say Wallace is one of those rare producers that has already amassed quite the reputable back catalog in a very short space of time. Let alone in 2023 having already released two albums and a handful of Eps with labels such as Rhythm Section, Mule Musiq and CWPT, he’s become a go-to producer for many DJs. To some it may seem like he’s at the beginning of his career but Wallace has been producing for over 10 years refining his sound.

On Loop label boss Moxie has been an early supporter of his, not only championing him in her DJ sets but also having him feature heavily on her NTS show. The pair are thrilled to be finally putting this release out into the world, showcasing why Wallace really is, the real deal.

The whole EP is filled with tons of percussion and rhythm, pulling the listener in. Tanzanite & M’bira in particular are undeniable groovers. Red Velvet on the other hand is something you might expect to hear played at 5am Fabric room 1, whilst Violet is a treat only for the vinyl heads and shows off how versatile Wallace really is as a producer, offering something on a slower tip.

Speaking of the release, Wallace says:

The A-side of Tanzanite is inspired by time spent in Africa when I was young. My dad used to make animal programmes & one time I tagged along for his jaunt around South Africa and Namibia. The 'M'bira' track uses the instrument of the same name which he picked up, when out there & the title track is inspired by a gem stone park we visited in Cape Town. The B-side takes inspiration from recent clubbing experiences. In this way, the EP is juxtaposed from the joyous, open air, playfulness of the A to the moodier, darker feel of the B.

*Early support coming in from Liv Wutang, Yu Su, Erol Alkan, Dr Banana, Kamma, Bradley Zero, Richard Sen, Axel Boman, Tom Ravenscoft, Dar Disku & more..

Wewantsounds is delighted to announce the reissue of Norio Maeda's cult classic "Rock Communication Yagibushi" released in Japan in 1970. The album has since become a Japanese Jazz Funk cornerstone and is now highly sought-after on the international DJ scene. The album reinterprets 14 traditional Japanese folk songs into jaw-dropping Jazz Funk instrumentals featuring killer arrangements by Maeda that would fit perfectly between David Axelrod and Lalo Schifrin. One of the most prolific Nippon arrangers, Norio Maeda on a par with Yuji Ohno and Kentaro Haneda and this album has long been on many collectors' wantlist. "Rock Communication Yagibushi" is reissued internationally for the first time, with newly remastered audio, original gatefold artwork and new liner notes by Paul Bowler

Are you ready to FUNK OFF? … we give a funk because WE ARE FREAKADELIC! we consider ourselves not just as a band but a label concept, hitting hard and nasty on our debut 12*inch release! providing moogy synth and talkbox action – performed by ROBOTRON … along with sexy italo-disco*isch vocal cheesiness – delivered by songwriter and female vocalist ANNA. it’s time for FREAKADELIC! … comitting pure electro-funk*ed street sounds out of the FREAKTOWN! be fast on the first rush of our motherfunking FREAKADELIC 1989 seduction – limited to 222 sexy covered 12*inches on black and yellow marbled vinyl. MAY THE FUNK BE WITH YOU!

This single comprises two stand out tracks from “Power-Fuerza” (1972), one of the best Latin funk albums ever recorded, with all the right ingredients to shake dance floors worldwide. Produced by boogaloo-don Bobby Marin, these tracks are a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the band's Puerto Rican heritage. The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy Melendez, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…) This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity.

Project from the label owners. Four tracks ranging from EBM, New Beat, to Techno.

"Barcelona-based street-techno artist Christiane delivers six tracks of anxious and grinding techno sound, infused with early gabber influences and shades of Nitzer-Ebb and early EBM.

Cherry-picking the hardest vibes of early Detroit techno, Christiane blends them with abstract gabber synth sounds, squelchy 303 basslines, and dark ambient breakdowns.

This EP serves as a platform for the artist to express both rage and dreams, pressure and release, embodying an involuntary exercise in reconciliation."

Vertigini is the alias of a prodigious talent. To date, Arthur Mukharlyamov’s infectious hooks have only been available digitally. Bordello A Parigi are more than excited to give this analogue alchemist his full vinyl debut. Four tracks make up the aptly named Thunder. The title piece rumbles from speaker cones, thick banks of bass and crisp rhythms crack before smooth strings give way to flashes of melodic radiance. Inspiration lies in the heavens with this EP, he’s leaving the bonds of earth for “Galaxy Funk”. Textured percussion is cut with acid grooves while generous breaks fuel this expedition. A fierce arpeggiator immediately ignites the flip, lancing beats pierce this burbling bulwark as honeyed notes melt in the muscled sweetness of “Final Space”. The journey back to Earth is imminent, but not without one final fun-filled flurry. Rich drum patterns are the foundation for the sticky groove of “Space Trip”. Vocals echo skyward while Vertigini weaves a dancefloor delight to ease re-entry to reality.

Repress!

Hardway Bros teams up with Beth Cassidy on Rekids for a timeless ode to the legendary Murk Records The release includes a ‘coral way’ dub mix and a remix by Erol Alkan and Richard Norris’ Beyond The Wizards Sleeve.

Sean Johnston is the man behind Hardway Bros, an alias well known for wobbly, downtempo, and synth-laced disco jams which have appeared on the likes of Is it Balearic? Whiskey Pickle, and Throne of Blood over the last decade. On this single, which is a love letter to legendary early 90s label Murk Records, Johnston links with vocalist Beth Cassidy, known for her work as part of Manchester’s Sea Fever and Section 25.

Hardway Bros’ wonderful 'Murky' is deep and sensual house music. The vocal brings sultry charm, unfolding in soulful style over whimsical ambient pads and chunky drums. It oozes with character and harks back to actual songwriting of days gone by.

Beyond The Wizard's Sleeve is an alias of dance music pioneers Erol Alkan and Richard Norris. It was established to bring psyched-out, acid touches to the dance floor and has resulted in a critically acclaimed album on Alkan’s Phantasy Sound and much more. Their excellent Re-Animation is eight minutes of drawn-out disco chug, loose grooves and masterful chord work. Up last is a Coral Way dub that strips things back to the beats, layers in plenty of cosmic FX, and lets your imagination run wild on the tripped-out synth leads that pan between the stars.

Catch this blistering funk rarity from 1971 - Do not sleep!

Clarence Reid should need no intro, but for the uninitiated he's one of the voices and creative forces behind numerous Miami funk and soul sides from the 1960s onwards. Known for his deep, soulful, rough and ready style and bugged out take on things (see Blowfly for example.... but be careful!) Reid recorded 100s of sides during his illustrious career. This particular record, originally released in 1971 on Henry Stones mighty Alston Records serves us up some red hot raucous funk. One side for the ladies, one side for the dudes! This one has long been a favourite of serious diggers and DJs hunting for breakbeats, and one spin of this 45 will tell you why, this one has it all.

Unmissable, rare as hen's teeth and now freshly restored and repressed for your 7" box! Clarence Reid's "Miss Hot Stuff / Mr. Hot Stuff", available again in repress form for the first time in over a decade. Fully licensed and agreed by Henry Stone Music / TK Disco and boasting some fresh new artwork for 2024.

Fresh underground talent straight out of Liverpool from certified herbalist Sticky Dub. The MC/Producer cooks up his own special blend of Broken Beat, UKG, Dub and Hip Hop, as styles collide to unique effect. His Northern roots man, rudebwoy energy is processed through an electronic, inner city engine, resulting in some of the most exciting club ready cuts we've heard this side of the Mersey. Melodic dub baselines rub with skipping dancefloor beats, all laced with Sticky's bouncing Scouse drawl, and lyrical insight, on his quest to understand nature and rhythm. And like Sticky says, if you want to keep the spiritual equilibrium of the world in check, then 'never give weapons to a man who can't dance"....

Neuauflage seines klassischen dritten Albums auf LP
und Expanded-CD, mit dem 5 Wochen lang auf Platz 1
der AC-Charts (und Platz 7 der Pop-Charts) stehenden
Titelsong und Gastauftritten von Mitgliedern der Eagles,
Jackson Browne, David Sanborn, John Sebastian, Phil
Everly, Tom Scott und anderen.
1979 hatte sich JD Souther schnell als vollendeter
Singer/Songwriter und Interpret etabliert - er schrieb Hits
für die Eagles, Linda Ronstadt, Bonnie Raitt und James
Taylor und lieferte zwei inzwischen unverzichtbare
Veröffentlichungen für David Geffens Asylum Records. Für
sein Debüt bei Columbia Records stellte er eine
hochkarätige Band zusammen (Waddy Wachtel an der
Gitarre, Don Grolnick am Klavier, Kenny Edwards am
Bass und Rick Marotta am Schlagzeug, dazu Danny
"Kootch" Kortchmar an der Gitarre, David Sanborn am
Altsaxophon und Dan Dugmore an Gitarre und Steel).

Neuauflage als limited Edition in goldenem 180gr Vinyl.

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

Thanks to the success of his productions and his remixes, all the works printed on vinyl made by Luca LTJ Xperience Trevisi have been snapped up among his fans and DJs from all over the world.

From his past catalog there was still a complete album released only in Compact Disc and in digital format in 2013: Ain't Nothing But A Groove, left behind not because it had anything less than the others but simply to alternate new releases with catalog ones.

Now it is finally being printed.

The album, strictly in the DJ Friendly version, double vinyl with only two tracks on each side, contains some of his Nu Disco Funk pearls such as: What I Feel, Linear Funk and Get Down. Luca LTJ Trevisi (LTJ Xperience) began his career as a DJ and producer in the 80s.

As resident DJ of two of the most famous Italian clubs, the Kinky in Bologna and the Cap Creus in Imola, he was one of the first Italian DJs to play House Music and to revive that particular selection of Black Music called Rare Groove mixed with Jazz and Latin-Bossa who gave birth to the Acid Jazz movement at the end of the 80s.

His first official release was in 1988 and was titled First Job, paired with Kekkotronics, and was also the first album from Irma Records. The song was included in many compilations and many DJ playlists around the world. In the following years, among his singles we find some song forms that anticipated the Breakbeat genre such as Do n't Stop The Sax and Funky Superfly. He produced Tameka Starr's single Going In Circles, also for Irma Records, which has become a classic of the Downtempo/R&B genre.

In the mid-90s he produced some Italian Acid Jazz groups such as Bossa Nostra and Live Tropical Fish and began to select Rare Grooves compilations that have become classics such as Groovy and Suono Libero. At the same time he also started playing outside Italy, in particular at the Blue Note and the Jazz Café in London, at the
Giant Step in New York and at the Montreaux Jazz Festival in Switzerland. In 1999 he released his first album under the pseudonym LTJ Xperience entitled Moon Beat which featured Ohm Guru in
the production and Taka Boom and Jackson Sloan as vocal guests. Two tracks from the album have become club classics:
the Brazilian House version of Sombre Guitar and the chill out Moon Beat. His second album in 2003 entitled When The Rain Begin To Fall features Joe Bataan in the reinterpretation of his most famous song Ordinary Guy which has become a Gilles Peterson classic.

After some singles including Organ Mind / I Love you (Larry Heard's favorite track) he dedicated himself to the world of the Nu Disco genre, releasing 5 albums in the genre to date. The latest Deepening of A Groove contains Bad Side with the American singer Anduze on vocals, which is one of his most popular hits, adored by Moodyman so much that he included it in the music of Playstation's Gran Theft Auto which sees him as the protagonist with his avatar.

Timelash is the evolution of Embassador Dulgoon’s cryptozoological sci-fi opus ‘Hydrorion Remnants’ converging with Corum’s surreal sonic mapping as ‘Beguiling Isles’. The combined cinematic vision jettisons listeners through a psychedelic wormhole far beyond the usual perception of known audio latitude.

Aguirre Records has gone all out to inject this tribal dino DNA double slab of wax presented as twelve expansive and mesmerizing tracks of historical mutations linking early communication developments with speculative astrobiological impressions heard as mysterious & riveting melodies that wash over dizzying percussive styles and suspenseful ambience.

A variety of unexampled sounds take shape throughout as tectonic tablature, reptilian choral movements, bubbling bioluminescence, tube calls, orogenic bells, crustacean chatter, lost continent scales, high plains drifting riffs, and primordial soup lapping splashes revealing to listeners a living mural that is ’A Morphology of Wonders'.

The conjuring of cratonic creature harmonics resonate wildly from this interdimensional duet, emerging as Neopangaea music of now