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Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

We’ll forever remember the summer of 2020. In March the world was hit by the Covid-19 pandemic. All over the world cities and countries went in lockdown, bars and venues were closed and live music stopped altogether. After three months of total isolation and not being able to jam or play at Missy Sippy Blues & Roots Club in Ghent —or any other place for that matter— Tiny Legs Tim and his friends decided to book a weekend at The Yellow Tape studio. They wanted to capture the emotional high of finally playing together again. A simple live setup, a 60’s Faylon mixing desk and an old 24-track tape machine were used to record this outburst of musical joy. During that weekend Tim and his musicians reached that point of ‘locking together’ they experienced so often playing late nights at a packed and steamy Missy Sippy. Imagine when four musicians act as one in an energetic dance with the audience, led by the sultry beats of the drums (Bernd Coene), the dirty grooves of the bass (Mattias Geernaert) and the inciting dialogue of the guitars (Toon Vlerick & Tiny Legs Tim).
At the moment these kind of scenes and carefree celebrations of life and music seem like a thing of a long gone past, but as Tim puts it: “We’re always ready to roll, call us when it’s over.” In the meantime, the listener gets a first-hand experience of the positive energy and joy of making music on the spot with a selection of spontaneously arranged songs: some new, some old and one cover by the late RL Burnside.

Hoshina Anniversary returns from forever for a majestic dance. This is his second offering for the ESP Institute. Side A’s Karakuri contains all the elements of Hoshina’s signature sound; bouncy staccato bassline, minor chords and organ stabs, a Chick Corea-inspired Rhodes that walks all over the place, all tracked along sparse bits of Japanese percussion and cymbal that juxtapose organic texture with precision-machined timing. The lead keys feel at first as if they’re freeform, however, Hoshina’s obsession with order becomes apparent as the bars develop and his systematic control and repetition is revealed. On side B’s Michinoku, we’re treated to a deep and slow burner. A roller of a beat based on 808 toms and a pishy snare sets the somewhat bumpy base for this groove, and again the meat of the rhythm is built with dirty chords, this time on the upstroke, in an almost Reggae style. What the flipside taught us about Hoshina’s controlled chaos, is here again the lesson and perhaps even moreso. The voice of the track remains the Fender Rhodes, played in brief but wild phrases and arranged into patterns upon which Hoshina builds layers over some 8+ minutes. There is a deep and dark mood throughout both sides of the record, but perhaps more sultry than devilish, and one that listeners educated in the stoned arts will appreciate. These two songs have built the end into the beginning.

Hunt & Gather’s debut vinyl release comes by way of Pezzner’s cryptic moniker “The Native Language”. Written as a quasi-homeless man living off the rich in the San Juan Islands who writes music once per year to suffice his own delusions.

Walking the streets in these damp, anxious days that all run together lately, I was approached by a man who would blend right into the neighborhood, layered in flannel and sweatshirts for sleeping.

Rough, but for his shoes. (Never cheap out on anything that separates you from the ground.) “Pezzner,” he called out, from a safe distance. “What did the mangrove say to the marauding hordes.” My soul left my body for a moment and my voice responded on its own. “Petrichor.”

He caught my eye, nodded, left a padded envelope on the ground and vanished. The envelope had passed through many hands, slipped into the bed of a ferry-bound truck, passed from one fellow traveler to another, stashed under the counters of anarchist bookstores, left tucked between books at Little Free Libraries. The greenish stains suggested that at one point it had been swum across a lake. Another DAT, contents encoded here unabridged, and a letter from someone who called himself The Sentinel.

The Vessel lived out his days on Shaw Island, under a canopy of trees that gets smaller and smaller every season. His condition the same, any electricity lit his brain on fire, could only bring himself to compose one day a year, only at night, out of sight. Until he met The Angel, an eccentric with means, who built for him a device.

A Faraday Cage to block all electromagnetic emissions. Burlap walls, for atmosphere. A system of pulleys and levers, wood and rope, all running into a box that sat outside. An entirely mechanical control surface. No electrons in here. The Vessel lit fires, watched the shadows dance, closed his eyes and disappeared into the motion for hours at a time. The Sentinel came every morning to change the tapes. The Angel watched and pondered, his plans unknown.

The box sat sealed, bare except for another set of ideograms, scratched in day by day over time. Inside, the usual bedroom-producer shit. Outside, the ideograms told a story, passed from the Vessel to the Sentinel and drawn by the Angel, of a man who became another creature. Alert to the lowest frequencies, feeling music deep in the soil below their feet. Music that brings messages, from distant friends, warning of new creatures and the danger they brought. Skin alive to the world, so sensitive it can detect the landing of a single fly. A mind capable of keeping a map of the world inside. A mind that can look in a mirror and see a soul it knows well. A mind that can grieve.

After processing its contents, I filled the envelope with granola bars and walked it down to the market. The clerk gave me a knowing look as I placed it on the counter behind a stack of pork rinds from the previous century. As I walked out, a young man carrying a plastic bag and wearing impeccable shoes walked in.

Following on from a series of singles, 'Runnin' Wild', 'Confliction' and 'Jump The Line', First Word Records is very pleased to present a full-length EP from alt-soul artist Olivier St.Louis, produced by Oddisee - 'M.O.T.H. (Matters Of The Heartless)'

Olivier was born in Washington DC of Haitian and Cameroon heritage, but spent his teens studying in the UK. As a teenager, his CD and tape collection would encompass a wide range of genres, from hip hop and r&b to garage and British alternative rock. A bio-science student, Olivier couldn't suppress his true passion of music. After graduating, he took on a "Jekyll and Hyde" lifestyle; working as a scientist in the day, and a musician at night.

His work as a recording artist eventually lead to his debut release in 2011, 'The Mr. Saint Louis EP', released under the moniker Olivier Daysoul and produced by longtime collaborator and fellow Washingtonian, Oddisee, a revered hip hop producer / artist in his own right. From here on, Olivier began laying down vocals, collaborating and touring with a wide-range of artists over the following years, including Hudson Mohawke, C2C, Laura Mvula and German rockers, AnnenMayKantereit.

After taking a hiatus from feature work, Olivier decided to concentrate on nurturing his own sound. Embracing a newfound love for blues, rock and funk, a series of late night sessions saw him engulfed in new soundscapes, and reverting back to his birth name, Olivier St.Louis. This saw him release two critically-acclaimed EPs with Berlin-based label, Jakarta, and the release of 'The Serious EP' with Bibio on Warp Records.

Following world tours with many of the afore-mentioned, Olivier has been working on all-new material, which is now set to be unleashed upon the world via Worldwide Award-winning London label, First Word Records.

The 'M.O.T.H.' EP begins with the downtempo bump of 'Jump The Line' before the adrenaline-racing rhythm of 'Runnin Wild' steps up the pace. Next is second single 'Confliction'; a considerably moodier affair, with Oddisee on assist on the bars as well as on the boards. The flipside begins on a similar vein as the first with the smoothed-out soul of 'All In Love', before we head into the slightly jazzier tinged 'Quit'. 'Serotonin' follows next with a groove and bassline reminiscent of Sly Stone, before we close out with the feel-good uptempo boogie stepper, 'Steady'. With Oddisee on the boards throughout, this EP exemplifies Olivier's unique take on alternative soul.

Comparisons have already been made to something between D'Angelo and Shuggie Otis - big boots to fill, though easy to believe once you've seen and heard this man do his thing. This EP is essentially a classically-structured selection of soul-funk with a rock edge, and a touch of jazz. Each track is laced with Olivier's sweet harmonies and fuzzed-out guitar licks throughout, and mixed down with a little 2020 boom bap thump. A prime example of Olivier's unique talents and a set of quality contemporary alt-soul.

When asked his thoughts on his artistry, Olivier St. Louis simply states "no punches pulled, no compromises, just me".

'M.O.T.H. (Matters Of The Heartless)' is released via First Word Records in January 2021.

Vangarde's 11 songs represent the culmination of not only what this year has wrought, but also the talents of Lif and Bangas, an emcee-producer duo built for this. And you can hear that for yourself as soon as the second track, "Shelter in Place," blasts its way into your speakers. From the driving production to Lif and Blacastan's bars, the single embodies the raw, visceral feel of the entire LP. It carries through to the previously leaked "Basquiat," the stirring and gripping posse cut "8 Minutes 46 Seconds," and the highly personal "Now is Only Now," in which Lif explains how he wrote most of his lyrics secluded from his wife and young son due to the pandemic.

What makes Vangarde so impactful, however, is that it doesn't beat you over the head with the same sound or approach. Lif and his guests may tackle subjects related to oppression and corruption throughout the record, but it's done through nuance. The same goes for Bangas' stellar production, which maintains the momentum of his vocal counterparts. It's no surprise then that the two speak so highly of each other, with Bangas referring to Lif as a "storyteller and a reporter," and Lif noting that he was saving the name "Vangarde" for a project with an "elite producer."

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.

L’istruttoria E’Chiusa Dimentichi (internationally released as The Case Is Closed, Forget It) is a 1971 Italian crime drama film directed by Damiano Damiani. It is based on the novel Tante Sbarre (Many Bars), written by Leros Pitton and was awarded at the Tehran Film Festival. The film centres around the architect Vanzi, whom ends up in prison and ends up involved in a plot against an inconvenient witness to organised crime, passed off as a suicide, with the complicity of the security guards. Renowned composer Ennio Morricone created an obscure, yet globally beloved, score to the thriller. Tracks B2 and B3 (“Disordini (Titoli Versione Film)” and “Ordini (Versione Alternativa)” were part of the original recordings but not used for the movie final cut. Available as a limited edition of 1000 individually numbered copies on orange marbled vinyl.

We are proud to announce our official UK, Record Store Day 2020
release by Magic In Threes on KingUnderground. Edition of 500.
Releases Sat, Aug 29th in official RSD record stores.

The Nashville crew are back with even more top-shelf vintage-tinged funk. The limited 500 pressing dinked 45 is their 6th seven-inch record, this time showcasing a superb horn section with sleazy bass permeating the groove.

‘Stay In Your Lane’ bursts through with a dramatic cadence of slick guitar, aggressive bass, subtle wah-wah, and a soulful bridge section - smooth and cinematic library-style funk at its Finest.

‘Measly Peace’ shows off a hypnotic groove with tight drums, lush chords, and a driving rhythm reminiscent of a 70’s cop show theme, but with some new age flair. Their previous releases have impressed patrons of all dance floors and vinyl bars since 2010, and anyone familiar with those will be happy to add this one to their crates. Another killer 45 from the stellar as ever Magic In Threes.

It was 1977, there may well have been “knives in West 11”, but at a student’s hall of residence in Leicester, a packed room of cross legged intellectuals were about to witness the debut of The Disco Zombies; Andy Ross on vocals and guitar, Geoff Dodimead on bass, Johnny ‘Guitar’ Hawkins on guitar and Andy Fullerton on drums. They were loud, fast and they had some witty one-liners.
The four-piece became five with the addition of Dave Henderson from The Blazers, a chirpy power pop punk quintet, who were part of a burgeoning scene in the city that included The Foamettes, Dead Fly Syndrome, Wendy Tunes, The RTRs, Robin Banks And The Payrolls and many more. Wine bars, canteens and bowling alleys in pubs were the home of this phenomenon until Subway Sect and The Lou’s arrived for The Great Unknown Tour. They needed a local band for support and the Disco Zombies obliged.
Record Shop owner - and now Mayor Of Mablethorpe - Carl Tebbutt was keen to ride the punk rollercoaster and decided to launch Uptwon Records with a Disco Zombies EP. Recorded in Chester in one four hour session, it included The Blazers’ ‘Top Of The Pops’ and Andy’s ‘Time Will Tell’, ‘Punk A Go Go’ and ‘Disco Zombies’.
Carl had done a deal with a one-stop music production company who went bust almost immediately and the record was shelved. Unperturbed the band pressed on and recorded a session at the local radio station, ‘TV Screen Existence’ being the only track that survived. A tour of Leicester – five pubs in five days – was the end of that era and the band without Johnny ‘Guitar’ who had another year to do at Uni, relocated to London taking with them The Foamettes’ guitarist Steve Gerrard who wisely returned to Leicester and become part of The Bomb Party. Steve was replaced by Mark Sutherland in what was to become the recognised line up of The Disco Zombies for several years, playing lots of London gigs from The Hope And Anchor to The Moonlight Club, North London Poly to the Scala.
By 1978, there was an eruption of small DIY indie labels and Andy Ross launched South Circular Records to release the band’s debut single, ‘Drums Over London’ - an ironic stab at people’s hostility to the arrival of other cultures, a piss-take of Spear And Jackson-wielding Tory attitudes. John Peel played it regularly until Rock Against Racism complained even though Peel explained that it was actually supporting their views. Ho hum. South Circular wasn’t to last but Dave Henderson launched Dining Out. Dave and Andy journeyed to Ipswich to record the debut EP from the Peel-approved Adicts, the plan being to follow it with a Disco Zombies’ single and regain momentum. ‘Here Comes The Buts’ was the second Dining Out release, featuring the breakthrough Dr Boss drum machine; it was greeted with great enthusiasm in some quarters, although strangely it was likened to The Cramps meets Neil Young in NME.
Dining Out was always just one step ahead of going out of business and even though the follow up had been recorded - ‘The Year Of The Sex Olympics’, backed with ‘Target Practice’ and ‘New Scars’ – it never saw the light of day as the money finally ran out.
Somehow, Dining Out had a second lease of life and Andy wanted to record a new track for a new release amid 45s from The Sinatras, New Age and Spit Like Paint. By now, the Zombies had been through their dark post punk phase and ‘Where Have You Been Lately Tony Hateley’ was a clever upbeat anthem which told the tale of the nomadic footballer. The test pressing gained many Peel minutes but by the time it was ready to release, the band had finally split up. It eventually saw the light of day on the Cordelia label’s ‘Obscure Independent Classics’ album. Very fitting.
So, it was 1980: Mark Sutherland opened a studio in Bow, Dod got a day job, Andy Fullerton already had one. Andy and Dave went a bit experimental in Club Tango; Andy eventually discovering Blur for Food which he started with The Teardrop Explodes’ David Balfe, while Dave flirted with Worldbackwards.
In 2011, the drum machine line up descended on Mark’s studio, rehearsing for a show at the Bull And Gate. They recorded two of their lengthier tracks – ‘Night Of The Big Heat’ and ‘LHO’ powered by a waning Dr Rhythm – these were pressed as an extremely limited edition ten-inch. A few years later Andy Fullerton returned to the fold recording three more originals ‘Hit’, ‘Lenin’s Tomb’ and ‘Paint It Red’ for an even more limited edition ten-inch in 2018 and a show in October that year at The Dublin Castle.
Since then, meandering lunchtime discussions in restaurants that were popular in the ‘70s (Joe Allen, Café De Pacifico, etc) have led to arguments about the lost tracks – ‘Man From UNCLE’, ‘I Need You Like I Need VD’, ‘Throwaway Line’, ‘I Thought You Were Only Joking’, ‘London Nights’, ‘Cosmetics For China’, ‘When Doo Wop Hit Hampstead’. It’s only a matter of time. Until then.....

Linus Hillborg’s solo debut Magelungsverket lures listeners through despaired soundscapes of justly tuned electroacoustic orchestral arrangements seeped in rich harmonic synthesis.

Magelungsverket is a rendering of materials from Hillborg’s own computer game hacking project, Orphan Works, where an obsolete game engine was modified to create an interactive installation in which participants drive through the purple midnight streets of a decrepit and abandoned Stockholm. The game's generative soundtrack interacts with the player’s haphazard navigation of a ceaseless digital void of factories, housing projects, run down bars, ditches and lakes. Displaced, uncanny narratives and depictions of both real and semi-fictional locations in Stockholm that could have existed - but do not - procures distinct sequences of sound constructed with the Buchla 200 system, programmed synthesis, bowed cymbals, metal clarinet and tape machines.

The rendered pieces on Magelungsverket have been adapted from Orphan Works’ interactive and generative material into separate, fixed compositions, bound by duration, each one named after a location in this fictional, virtual Stockholm. For instance, Vårbergsobservatoriet (The Vårberg Observatory), draws its name from an artificial mountain that exists in the outskirts of Stockholm, amidst the sprawl of residential areas far beyond the sparkling city center. It was built from garbage scraps left behind after the underground metro system was constructed in the 1970s. In this fictional version, a public observatory was wishfully imagined to have been built on top of it. However fictitious Hillborg has imagined these locations, it is a bittersweet reflection and fragmented mental image of a Stockholm that never existed. Magelungsverket will be released on the 4th of December in a limited run of 200 black vinyls and across digital platforms.

Linus Hillborg (b. 1989, Stockholm) is a composer, musician and sound artist based in Stockholm, operating in numerous fields, ranging from experimental musics and audio-visual installations to post-punk and noise formations.

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

Dynamic Sounds Studio has its roots firmly set in Jamaica’s history. It was the first state of the art studio built in Kingston, Jamaica and a firm favourite with all the topflight homespun artists. Bob Marley chose to record the bulk of his seminal 'Catch A Fire' album there and many foreign musicians trying to catch some of that reggae magic and emulate that sound have beaten a path to its doors. As you will see the studio had a history already of its own, that was carved out before it became the aptly named Dynamic Sounds.

Originally named WIRL Studio's (West Indies Records Limited), it was set up initially to record Jamaica's versions of the American Rhythm and Blues tunes that were proving so popular  on the island. It was started back in 1958 by Political leader Edward Seaga an astute businessman, who had many interests around the island including clubs and bars. As the R & B music evolved into its own styles from Mento into Ska, one of its main protagonists Byron Lee and his band the Dragonaires would be at the forefront and be seen as ambassadors to the cause. Edward Seaga would choose the band to head the 1964 World’s Fair and take them to New York to showcase the Jamaican Ska Music. His political ambitions leading the American friendly JLP (Jamaican Labour Party) against the Cuban inspired PNP (People's National Party), would see him cutting back his other interests and lead to the selling of WIRL, lock stock and barrel to Byron Lee. On taking over the business he renamed it Dynamic Sounds and extended it to include not only a top of the range recording studio but a pressing plant to distribute the new hot sounds of the day directly to the streets of Jamaica. The address would also change to 15 Bell Road, it's old address No 13, seemingly too unlucky for such a fine establishment.

The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. We get on board when the music had slowed down to the reggae skank that we now know and love. We have picked some fine cuts that we feel best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris a much-underrated studio master, always came up with some interesting effects to enhance the version cuts. A fine time in reggae's history caught at one of Jamaica's finest studios. Dynamic Sounds from a Dynamic Studio.....

Outider sweet soul track by Mississippi Garage Band the Sypyres, 'Looking for a place' was originally the flip to Mark Prewitt insanly rare cover of Animals classic 'Baby Let Me Take You Home'. The new masters sounds significantly better than OG plus is on Vinyl rather styrene so its ready for bumming out the finest clubs and bars as soon as they open!! Big up to Brian Sears who did the reasearch on this one.

Favorite Recordings presents an exclusive reissue of the first private press eponymous LP by Sacbé, a Mexican Jazz Fusion masterpiece from 1977. Unique and beautifully recorded, with a breezy feel brought by the synthesizers, Sacbé could be likened to what Azymuth was doing at the same time in Brazil. Available as a vinyl-only limited pressing Deluxe Tip-On LP, coming with its original printed innersleeve, remastered by The Carvery.

Sacbé was composed of Eugenio (keyboards), Enrique (electric bass) & Fernando Toussaint (drums), three brothers hailing from the huge Mexico city, and their friend and sax player Alejandro Campos. Growing up in a family of musicians, they quickly became familiar with jazz music. However they were mostly self-taught, most of them choosing at first to work and study outside the music industry, but somehow, Eugenio had the opportunity to start studies at the Berklee Music University. Before leaving, he deeply wanted to play jazz with his brothers. That’s how Sacbé was created on a hot day of October 1976.

The band then built step by step a challenging repertoire including Chick Corea, Herbie Hancock, Weather Report, Milton Nascimento, Focus, Passport, and many more… Gradually, Eugenio started to compose more tracks, and through a cooperative work of arrangement, Sacbé ended up playing only their own compositions. That was not an easy choice for the band, resulting in a lot fewer opportunities to play in bars and clubs at night, while they were cumulating small jobs during the daytime. But their dedication, tightness, and integrity started to attract a wider audience thanks to their sessions at the Musicafé and helped Sacbé to assert its imprint within Mexico’s creative artistic circles. A group of artists with similar attitudes was created and they began working almost as a team, holding live shows, exhibitions, and dance performances, all with a very unique and creative proposal. It’s at this period that the band met Luis Gil, a young designer and recording engineer, who had access to one of the best studios of the city called LAGAB. Recording at nights and weekends for free, the Toussaint brothers had, therefore, the chance to really put their band quite literally under the microscope.

With tenacity, they explored all the possibilities of interpretations, structures and improvisations, collaborating with great musicians and finding themselves in the position of being their own producers, despite being only around 20 years old! This album is the result of this perfectionism ethics, shared by everyone involved. “Sacbé” means white road in the Mayan culture, it was the name for the roads connecting the main ceremonial centres with the jungle, made of roughly three feet of coral limestone. They were sacred roads used by high priests and warriors, which echoed the musical path of the three brothers. Putting the pieces together, they managed to create their own label and pressed 1000 copies of their reunited recordings in 1977. The artwork was painted by Enrique, inspired by the work of Le Douanier Rousseau and the Mayan jungle. Hopefully, the LP met some success in Mexico and California, opening many radio and TV doors for them. It was the starting point for a whole career of recordings, with a total of seven albums including various guests.

We are very pleased to finally present you a new Lorenz Rhode release, for the „Sandpaper EP“ Lorenz Rhode and Jamie Lidell get together again. Their first collab „Any Kind of Pressure“ was followed by Lorenz joining Jamie’s world tour and a remix of „Big Love“ for Warp Records. Jamie performs with an amazing energy, and his
soulful voice is carried by a warm and playful house backing: Minimoog bass, Rhodes piano and just some sparkles of a very old Roland synth that Lorenz had just bought, and which is now broken.
The second new jam „On the Nightshift“ is a fun stabby tune based on a spiraling chord progression. It loops every three-and-a-half bars, just to make life harder for DJs. A real nice warm groover.
The remix for „Sandpaper“ is a true family affair! Sound Support is the all new project by Lars Dales better known as 1/2 of Detroit Swindle and Lorenz himself. They’ve just released their debut EP on Prins Thomas’ “Internasjonal” label in October this year, here they take Jamie’s vocal into a more dramatic and electronic territory touching
electro grounds. To close things out we also added an instrumental on the vinyl and radio mix on the digital version of this new EP. Enjoy as much as we did putting this together for you!

Conjunto Papa Upa returns with “Todo Parao” (“Total Shutdown”), another boundary pushing tropical smasher. Bringing you the ultimate (humourous) hymn to the pandemic over an exquisite blend of highly danceable Caribbean rhythms (zouk, cadence, kompás, guaracha) and classic synths. Backed by a deep sea dub on the flip, complete with resplendent cowbell(!), timbales and Wurlitzer solos. Another stepping stone that showcases yet another angle of the unique and radical production style of Alex Figueira. Drop this 45 at your next virtual party and watch everybody leave their computers in a desperate search of a dancing partner.

Conjunto Papa Upa is the Afro Caribbean centered solo project of Figueira, backed live bysome of the best musicians from Amsterdam’s Latin and free jazz scenes. Their debut LP was recently released on legendary American indie label Names You Can Trust. Figueira is also known for his percussive work on tropical psych power trio Fumaça Preta or his regular live incursions with Amsterdam’s turkish psych folk powerhouse, Altin Gun.

Having spent the whole night working on the melodic structure of the song, Figueira took a break to take advantage of the different time zones and check on his dad in Venezuela, and ask how the pandemic was unfolding there. His answer: “Todo Parao” (“Total Shutdown”). The same two words he had used multiple times before, this time pronounced in a hilarious Rum-infused way, giving Alex an unexpected flush of inspiration in the form of an instant infectious chorus. He excused himself and immediately got locked back in the studio. The result is this incredibly catchy tune, displaying the optimistic approach of a boyfriend to the chaos, uncertainty and worrying of his girlfriend about the pandemic, presenting her with his own lascivious lockdown plan for the two, declaring at a certain moment: “while everyone is lamenting, you and I are going to enjoy”.

In the musical side, rhythms from Haiti, Guadaloupe, Martinique, Puerto Rico and Cuba are unscrupulously mixed with the most diverse and strikking elements: strident cowbells that evoke the toughest salsa of 70's New York, harmonized guitars evidencing the inconfesable influence of 80’s heavy metal, a delicate Wurlitzer piano reminiscent of Black America’s greatest Soul ballads, Casio keyboards rescued from a child’s toy cabinet and a whole plethora of half-broken classic Synths, to create an equally irresistible and unclassifiable hybrid.

On the flip side, Part 2 opens with a prominent dose of the lead guitar that appeared briefly on the A side, working as a preamble to an instrumentalist frenzy that is not concerned about displaying technique. Its mere intention is to tell you the rest of the story without using words. A few bars into the song, the first gear shifts with a monumental solo given by the least probable of all “soloist” instruments: the cowbell (!). After it, a crispy Timbal crashes the party, making a statement out of its only appearance in the entire recording. Finally, the longed-for turn of the melodious Wurlitzer, who left everybody craving for more on the other side of the record, giving the modest keyboard skills of Figueira an imposing pentatonic virtue.

´Distant Memories - Live in London´ vereint ausgewählte Songs von DREAM THEATERs aktuellem Album ´Distance Over Time´ (2019) zusammen mit der vollständigen Aufführung von ´Metropolis Pt. 2: Scenes from a Memory´ (1999). An einem lang herbeigesehnten und fast schon als historisch zu bezeichnenden Abend in der Geschichte der Band entstand dieses bemerkenswerte Live-Album. Die Tour ´The Distance Over Time Tour: Celebrating 20 Years of Scenes From a Memory´ war ein Dankeschön an die Fans für ihre jahrzehntelange Wertschätzung und Liebe. Für die Band war ´die Tour in vielerlei Hinsicht wirklich unglaublich. Wir durften unsere neuesten Werke präsentieren, die von DT-Fans auf der ganzen Welt auf eine Weise aufgenommen wurde, für die wir unglaublich dankbar sind. Und die zwei Abende, die wir in London aufgenommen und gefilmt haben, gehörten definitiv zu den besten Shows der Tour.´ Petrucci fährt fort: ´Egal ob man die Gelegenheit hatte, diese Tour persönlich zu sehen und das hoffentlich großartige Konzerterlebnis noch einmal erleben möchte, oder ob man das Konzert zum ersten Mal auf Video genießt: ´Distant Memories´ fängt die Live-Energie sehr genau und sehr schön ein - ebenso wie die positive Aufregung, die wir alle im vergangenen Februar gemeinsam im Apollo verspürt haben.´ Er hebt das ´unglaubliche Touring- und Produktionsteam sowie unser großartiges Filmteam hervor, die allesamt perfekt abgeliefert haben und es uns ermöglichten, in bestem Licht präsentiert zu werden. Wir sind überaus stolz darauf, diese Veröffentlichung dank unseres talentierten Mix Engineers, unseres Regisseurs und Art Directors mit brillantem Sound sowie in visueller und künstlerischer Perfektion anbieten zu können.´ Die bedeutsame Performance ´Distant Memories - Live In London´ ist als Limited Deluxe 3CD / 2Blu-Ray / 2DVD 44-seitiges Artbook, Limited Edition 4LP + 3CD Boxset, Special Edition 3CD + 2Blu-ray Digipak, 3CD + 2DVD Mulitbox & als Digitales Audioalbum erhältlich.

POWER UP will be available in multiple configurations that will excite collectors and die-hard fans alike, including digital, CD, and deluxe versions. The limited edition, one-of-a-kind deluxe POWER UP box is the ultimate fan package. Hit the button on the side of the box and watch the flashing neon AC/DC logo light up while the opening bars of “Shot In The Dark” blast out of the built-in speaker. Inside the box is the full CD package in a soft-pack with a 20-page booklet that features exclusive photos and USB charging cable allowing the box to remain powered up and on display. The vinyl LP will be pressed on 180 gram vinyl and housed in a gatefold jacket.

“Easy rider, come and take me higher”. When the world seemingly crumbles around, music can provide an escape few other mediums can. For their debut self-titled LP, Velour effortlessly levitate you above the madness below, each track taking a new turn, cruising over hazy flecked skylines, bustling walkways and bleary eyed bedlam. A trajectory that takes in all of jazz’s vibrancies, blending elements of neo soul, broken beat and hip hop coupled with a much-needed sense of hope across nine deep, soul-searching tracks released via WOLF Music Recordings.

A style and sound taking influence from genres and moods, environments and experiences, Essen-based Velour stretch their legs for this, their first full length album. From the off, they nestle you under their wing with the rustling sax washes of opener ‘CLP’ before diving into an epic slo-mo burner, swooping down into the chaos as singer, Eva Czaya, wistfully narrates the scenes beneath.

Unafraid to shift pace within songs, the likes of ‘Pose’, sauntering from soulful summer groove into woozy late night affair, and ‘Tom's Garage’, that progresses from roadside recounting to grungy basement blowout, finished with a sample of jazz-tinged dusty beats, show that accomplished and adept heads rest on the shoulders of these relative newcomers.

WOLF Music mainstay Mr Fries continues to head up production for Velour, his trademark touch capturing the intimacy of Velour’s sound presenting it in a way that’s considered yet raw - nothing feeling rushed, nor cluttered. A separation and space that gives each element the room it deserves to breathe, with short interludes and skits providing the perfect bridge between tracks, guiding you through smokey jazz bars and twilight whisperings.

Moving through the album, Czaya at points wanders in a serene spoken dialogue, at others letting her voice loose, but always with an ethereal demeanour that comes off with natural ease. One of many highlights, ‘Anthony Davis’ shows off this celestial prowess whilst perfectly embodying Velour’s dream-like escapism. A pent up release of creativity, as moody bass tones mix with deft keys, rolling snares sit behind swirling saxophones.

The journey ends with ‘Luminate’, a transcendent closer laced with space-echoed vocals that reverberate around over-driven Rhodes and feverish drums. Cymbals crash, as modulated synths rise, building and building before easing you off into the night and on your way to a parallel universe.

As a body of work, ‘Velour’ is a shining example of the freedom, energy and enthusiasm of the new school of jazz that’s been captivating minds the world over. An instant on repeat staple - let go, feel the flow, it’s what we need in a time like this.

The Allergies are back with the latest in a long line of party starting gold nuggets on 7" vinyl. 'Get yourself Some' sees the guys channel a bluesy stomping soul style reminiscent of Sam & Dave and the Motown greats. Screaming blues harp, hammond organ stabs, lyrics about making it all by yourself, and a steady groove make this one sounds like it could have easily been played by The Swampers in a long-lost Muscle Shoals session.

Meanwhile on the flip, The Allergies enlist two UK hip hop titans - Dr Syntax and Skunkadelic to trade bars on the driving and energetic 'I'm On It'. Funky sax licks, party bongos and a bassline you could set your watch to all complete the perfect beat for these two to flex their microphone skills over. And the end result is another blistering cut taken from their album 'Say The Word'.

Following four long years of sonic hibernation, the shadowy sneaker fiends behind the Shoebox series have decided to deliver a fourth EP of intoxicating musical fusions rich in dusty deepness, hazy grooves, kaleidoscopic electronics and glassy-eyed musical mysticism. Some tracks feed the dancefloor while others reward horizontal listening; all are suitably wide-eyed and tantalizingly tactile.

Vinyl Edition Featuring New Art! Features Guest Verses From Cormega, N.O.R.E., Meyhem Lauren, Freddie Gibbs, And More Plus Guest Production From Alchemist, DJ Premier, Pete Rock, And More. Kool G Rap doesn’t let his legend status stop him from continuing to do what he loves. Last year, the Corona, Queens veteran dropped his ‘Return Of The Don’ album, and in 2018, he’s following up the solid effort with a collaborative album full of heavy hitters behind the boards and on the mic, alongside Rochester native 38 Spesh (aka $pesh), who linked with Griselda Records’ Benny the Butcher earlier this year for the well-received ‘Stabbed & Shot’ album. The album’s tracklisting boasts veteran features like Cormega and NORE, while also brandishing newer school spitters like Freddie Gibbs and Meyhem Lauren, and Griselda Records’ Benny The Butcher. Behind the boards, as mentioned, KGR summoned production akin to MCing prowess. Alchemist heads up “Land Mine” while DJ Premier and Pete Rock lay the beats for two tracks each. Album mainstays Midnite and 38 Spesh handle most of the rest of the production. Overall, the project is a lot of what you’d expect from Kool G Rap: grimy street rhymes full of stories of peril and the beats to match. On “Land Mine,” the duo of 38 Spesh and Ransom provide a rather introspective look-back on their troubled come up while a song like “Flow Gods” reminds everyone that G and his assembly are nothing to be taken lightly when it comes to witty wordplay and velvety smooth bars.

With roots cemented in jungle, breaks and hardcore, Unglued injects his signature bassline badness into each tearout track, topped with euphoric classic house samples in the title track ‘Total XTC’, to hair-raising vocals from Truthos Mufasa in ‘War Dance’ featuring Whiney.

Total XTC fires us through a prism of late 80s nostalgia with pitched-up soulful vocal samples from Charvoni’s feel-good classic house groover ‘Always There’. Dreamy pads and playful vintage notes set the scene. Soothingly sustained vocals swim over raw, metallic, jungle-infused drums that introduce the subdestroying drop. A certified rave anthem that will have all the heads entranced.

‘War Dance’ raises adrenaline as Manchester-based Truthos Mufasa lays down slick and weighty bars that ricochet off skippy old skool-style drums right in the eye of the storm. Together, Unglued and Whiney conjure up bass-rumbling chaos as we’re pushed ‘right off the tracks’ with double-barrelled artillery in the heat of battle.

Charging in with twisted swagger, ‘Got 2 Have’ is a squelchy bass-ridden stepper that screams Unglued all over. While ‘Pigeon Funk’ swoops in and stares you down with electrically-charged squarks and funk-fuelled flare.

Introduced to jungle at an early age by his influential uncle Stoppy, Unglued demonstrates his ability to simultaneously stick and unpick these roots in his powerfully dynamic ‘Total XTC’ EP by fusing the old-skool style with his unique, forward-thinking flair.

Unglued’s rise since his anthemic ‘If We Ever’ remix, has brought in over a hundred intercontinental shows since 2019, and regular support from some of the biggest players in the game, including Andy C, Noisia and Randall.

Unglued is no stranger to spins on national airwaves, with BBC Radio 1’s Annie Mac awarding him Hottest Record In The World for ‘Born In 94’, as well as regular support from Rene LaVice and Charlie Tee on Kiss Fresh. Everyone’s got their eyes stuck to Unglued!

THE KILIMANJARO DARKJAZZ ENSEMBLE are a project which has always been tied to films. Films are luxurious because they dispose of all these boring, unimportant, and trivial parts of our lives. This allows them to fully control our sensations, to put us in a very specific mood. Joy and sadness are occasionally OK, endless joy or endless sadness are clinical. But there is one sensation which can be persistent and unconditionally bearable at the same time. In the absence of a better alternative, let's call it "the mood". The mood is what TKDE are aiming at. The mood.

The mood is infinite and illimitable, but not uniform and unique. On "From The Stairwell", TKDE deliver eight new incarnations of the mood. Stairwells have always been intriguing. They appear to unavoidably lead you to your destination, but they only disclose the path bit by bit. What lies far ahead of you and far beyond you is hidden in the shadows. The stairwell could just as well be infinite. You climb up this murky stairwell, passing by many doors. Every door contains a variation of the mood, a short film, a song. You open the first one, "All Is One". The evaporating mist discloses a large and empty room with a barstool in the middle. On the barstool, a chanteuse from the roaring twenties. Her voice starts to trigger vibrations of the ground, the walls start spiralling around her, but she remains untouched in the eye of the storm. Second room, "Giallo". Sly guy, telling smile, nice suit. Walking down the streets in the dusk. The ambience starts to get out of phase, the guy stumbles in horror while blending with the surrounding to a brown soup. Fourth room. "Cocaine". Naked people with pig heads crawl on the floor, on the walls, on the ceiling. They try to hopelessly suck up the white dust which covers every single piece of this room and is constantly spit out by tubes coming out of the walls. Dissonant sounds accompany the work of this desperate hive. As the people manage to counteract the tubes, fragile melodies start to overpower the dissonances. Sixth room, "Cotard Delusion". Baby morphing into a black fluid morphing into an old man which turns his eyes inwards and finds his inside to be completely empty. The journey up the stairwell, down the stairwell, continues. The pictures fill your head and make you forget where you wanted to go in the first place.

"From The Stairwell" is a surprise and a logical step at the same time. It is a surprise because the songs are far less beat-driven in comparison to TKDE's earlier works, and even contain a few hopeful tints here and there. It is a logical step because in the end each song turns to have a very diverse dramaturgic flow. This could raise the conjecture that TKDE, initially started out to make music for existing and non-existing films, wanted to incorporate the audiovisual impression completely into songs, making the films superfluous. At times, "From The Stairwell" makes you think of 60's soundtracks, but the organic feeling of those is always interwoven with mechanical elements. Altogether, every single of the numerous details present in TKDE's new songs feels to be at the right place and you can either just dive into the mood or pick one of the many aspects and enjoy it on its own - be it Gideon Kiers' beats & fx, Jason Köhnen's bass & piano, Hilary Jeffery's trombone, Charlotte Cegarra's voice & piano, Eelco Bosman's guitar, Nina Hitz' cello, Sarah Anderson's violin, or - appearing as guest musicians - Eiríkur Óli Ólafsson's trumpet and Coen Kaldeway's saxophone & bass clarinet.

The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings. The series includes the Danish composer’s own subjective translations of visual materials and sound pieces accompanied by visual notations.

On this release he collaborates with Katja Gretzinger and Nicola Ratti. Published as a limited edition art print folder, Framework 3 consists of risographed scores and recordings on 10” vinyl and CD – with recordings by Nielsen, along with graphic scores by Gretzinger and contributions by Ratti.

Raised in a family of architects Nielsen has for several years been occupied with the question of “how do you intuitively sonify an image?” along with the complementary processes of translating sounds and music into illustrations and scores. In early 2019, he produced various drawings and sound pieces which formed the starting point for the three tracks on this 10” vinyl EP. The audio is derived from synthesizer recordings and basic electronic sound sources (sine waves, feedback, noise) and percussive loops combined with recordings made in the studios at EMS (Elektronmusikstudion, Stockholm).

The audio material was translated by graphic designer Katja Gretzinger into a series of visual notations made while listening to the music. Gretzinger developed various symbols, forms and structures, such as points, bars, 3D balls, irregular patterns / “swarms” and regular patterns (vertical hatchings). These were combined with found image materials and cut-outs from old prints and layered with large geometric forms, which define the individual character of each of the three parts. The resulting 18-page graphic score is included in the release in the form of risograph printed sheets.

Nielsen then invited musician Nicola Ratti, who is also trained as an architect, to create sonic re-interpretations of the graphic score. Ratti reinterpreted the imagery as a selection of sound elements positioned in a three-dimensional area; which he visualized as the space between the composer / artist, Ratti himself and the loudspeakers. These recordings are included on the CD.

1, 2, 3 written & produced by Mads Emil Nielsen, Copenhagen / Berlin, 2019 / 2020 (reworked and combined with a live recording from Standards, Milan, September 2019). Recording by + thanks to URSSS. CD: 1, 2, 3 written & produced by Nicola Ratti, Milan, 2020.
Scores by Katja Gretzinger. Artwork/design (packaging, discs, text) by Mads Emil Nielsen.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

Following a high-pressure drop on Sneaker Social Club in 2019, bass-toting instigator Low End Activist steps up with his most expansive release yet.

His sound is a perfect amalgam of elements from the hardcore continuum – at times a dark and malevolent brainstorm of grubby drums dragged through crusty samplers, future-weary textural scrapes, moody splashes of pads and of course bucketloads of crushing subs, lows and low mids all designed to rock you from the waist down. You'll hear spectres of culture past lurking in the shadows – a trip hop skit from a gaunt figure here, a riotous brawl of grime MCs there – and feel the decades of soundsystem absorption seeping off the platters. It's like the LEA reached capacity and these productions were what happened when the sponge got squeezed.

One voice cuts a more prominent figure up front though – the peerless Flowdan, lending some powerful bars to Game Theory. What needs to be said about the Pay As You Go / Roll Deep mastermind you don't already know? His flow is mightier than any sword you care to step with.

Speaking of platters, this particular release marks the first vinyl pressing for Seagrave since the BOA 12" Warp Purpose Vol. 1 back in 2015 (slated for a repress – don't sleep!). It's an occasion worth toasting, building on a powerful and varied catalogue of sub-heavy sonics operating well outside the mainstream in service to naught but the sound, all packaged in a full-colour sleeve. As an expansive double pack of seven sure shots, it's also a fitting document of a subversive operative bringing some devastating angles to the hardcore tradition.

- Oli Warwick.

Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

Der Multi-Instrumentalist und Produzent hat sich mit fein strukturierten und enthusiastischen Kompositionen bereits einen Namen gemacht. Sein 2016 erschienenes Album „Forms“ zog mit seiner spielerischen Verwebung von Rhythmen und Samples die Aufmerk-samkeit der elektronischen Musikszene auf sich. In diesem Jahr veröffentlicht The Micronaut nun Olympia (Summer Games) – ein Album, das seinen sorgfältigen Produktionsstil weiterführt und dem Geist der Olympischen Sommerspiele gewidmet ist. Denn auch wenn diese abgesagt wurden, so sind die damit verbundenen Tugenden wie Durchhaltevermögen und Zusammenhalt zeitlos und gerade in diesen Wochen um so wichtiger. Solch grundlegende Prinzipien, die den Geist der Olympischen Spiele ausmachen, sind es auch, die The Micronaut umgetrieben haben. Und so war es kein Zufall, dass Summer Games entstanden ist: „Ich habe bisher immer Konzept-Alben veröffentlicht. Dieses Mal habe ich Olympia gewählt, weil es nicht nur Wettkampf, sondern auch eine Friedensbewegung ist, bei der es um die Menschen geht, ganz egal welcher Nation sie angehören.“ Diesen vielfältigen und stets vitalen, lebhaften Geist spiegelt das Album wider: Das verspielt-zarte Uneven Bars oder das träumerisch-sphärische Table Tennis, sie alle erzählen von den besonderen Momenten, von Siegen und Niederlagen und all den Facetten, die dem Sport innewohnen. Dadurch ist eine Reise entstanden, eine schwungvolle, aber auch turbulente Achterbahnfahrt, die den künstlerischen Anspruch The Micronauts abbildet: „Lebhaft, expressiv, dramatisch, manchmal ruhig, manchmal kraftvoll – ich versuche immer die Vibes von Wanderlust, Hoffnung und individuellen Momenten in meiner Musik einzufangen“ – erzählt der in Leipzig lebende Künstler. Und dieses Mal liegt das Spannungsfeld zwischen sportlichen Disziplinen – in dem sich The Micronaut musikalisch ausdrückt. Wobei seine Musik keinesfalls zum Sich-Messen anregt, vielmehr sind viele Tracks mit ihrem übermütigen, optimistischen Vibe für die Tanzflächen der Clubs geeignet, um sich die Anspannung der zuweilen olympischen Herausforderungen des Alltags von der Seele zu tanzen. Dazu hat The Micronaut anspruchsvolle Arrangements mit fließenden Melodien und unaufgeregtem Gesang kombiniert und den Weg für ein neues, collagenartiges musikalisches Genre geebnet. Bisweilen dreht Summer Games sogar in Richtung Elektro-Pop ab, dann wieder ist es inspiriert von old-schooligem Hip Hop and in anderen Momenten mündet und explodiert es förmlich in intelligent gesetzten musikalischen Hochsprüngen. Die Messlatte liegt hoch – doch bei allem Auf und Ab scheint immer durch, dass The Micronaut ein begeisterter Musikliebhaber ist, der Ideen und Inspirationen von überall her sammelt und sie unter Einsatz seines ganz eigenen emotionalen Prismas übersetzt.

In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers

"BRUK" is a new platform for fresh variations on the soundsystem ethic, in particular where high-end sound design intersects with formidable bassweight. It's an artist-focused endeavour geared towards producers with range, depth and ingenuity in their sound.

The first transmission comes from "FFT", the latest alias from accomplished producer Josh Thompson. Thompson established the Super Hexagon label with long time friends J. Wiltshire and Arthur Scott-Geddes and he's also released on heritage label R&S (as Alma Construct) and the excellent offbeat techno upstarts Power Vacuum, and more recently developed the FFT moniker via essential drops on The Trilogy Tapes as well as Super Hexagon.Thompson helps launch BRUK with a two-pronged attack that shows off the breadth of his artistic scope.

The lead 12" is a dynamic club release that pivots between razor-sharp drum programming, hyphy synth acrobatics, breakbeat science and dub-loaded atmospheres. If there's one constant that runs through all Thompson's work, it's a resounding confidence with melody, and that comes through even in the rowdy chops of "Month" – a track that exudes hope even in its gnarliest bars. From the dreadweight minimalism of "Fask" to the expansive electronica shock out of "Sacrifice (The Truth Mix)", this is a head-twisting release that feeds into the vital new energyreverberating around the 150+ axis.

Accompanying that 12" is a cassette album which provides that polar opposite side to FFT – a collection of compelling beatless ruminations under the banner of Total Self-Fulfilment. Gliding from low frequency industrial textures to expressive synth modulation, this is far from static music, even as it moves without the aid of a traditional rhythm section.

It's a strong first chapter for BRUK, with future releases lined up from artists similarly poking at the fabric of contemporary club music to find their own unique spaces for expression.

Maxx Mann were the gay New Wave duo of Frank Oldham Jr (vocals, lyrics) and Paul Hamman (music) from New York City formed in 1981. Frank studied voice and acting at the Herbert Bergdorf School idolizing Eartha Kitt, Nancy Wilson, Johnny Mathis and Shirley Bassey. Paul was playing piano for a cabaret singer at a bar in Greenwich Village where Frank met him and their friendship began. Paul and Frank worked together 3 to 4 times a week recording their debut self-titled album released in 1982, limited to 500 copies.
Songs provide interesting insights into the homosexual experience before the AIDS crisis: cruising backroom bars, BDSM and one-night stands. The music is "Neo-realistic rock" heavily influenced by punk, titillating, synthesized body and soul with Frank’s dramatized vocal stylings. The original press release sent to radio stations stated, "Because this is a completely innovative sound, we hope you will give it several listenings. It is adventurous, daring, and certain to cause reactions from your listeners.” For this first time vinyl/CD reissue we’ve added two bonus instrumental tracks, so the album now contains all four original vocal cuts and their corresponding instrumental versions. Paul sadly passed away in 1986 aged 33 from AIDS-related illness and we dedicate this reissue to him. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in an exact replica of the 1982 jacket and includes a fold-post poster with photos, lyrics and notes by Frank Oldham Jr.

"Available again for the first time since original release in 1974, Outernational Sounds proudly presents one of the deepest custom press jazz recordings of all – Jaman’s spiritualised and funky Sweet Heritage.

The history of jazz is often told as though it was principally a history of releases and recordings. On those terms, it’s easy to mistake a small recorded footprint for obscurity or silence. But that is to put the cart before the horse, for the true history of the jazz is the story of the music as it was played night after night in the clubs, bars, concert halls and backrooms of cities and towns across America and the world. Only a tiny fraction of this living tradition ever makes it onto a recording. The far greater part is embodied in the musicians and their music as they play it and live it. And even though 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist and educator better known as Jaman has undoubtedly lived it.

Brought up in Buffalo, New York, Jaman studied classical piano before beginning formal jazz studies under greats including Earl Bostic and Horace Parlan. Quickly becoming a respected regular on the club scene in Buffalo, Jaman held down innumerable residencies and worked with top local musicians – one of his early trios included the renowned bassist John Heard and drummer Clarence Becton, both of whom were poached one night by a visiting Jon Hendricks; sometime Sun Ra Arkestra bassist Juini Booth and regular Ahmad Jamal sideman Sabu Adeyola (also of Kamal & The Brothers) have graced his groups too. At famous night spots all over Buffalo’s East Side and on excursions to Manhattan’s storied jazz clubs, Jaman has shared the stage with some of the most illustrious names in jazz and blues: Big Joe Turner, Muddy Waters, Joe Henderson, Ruth Brown, Frank Morgan, Woody Shaw, Sonny Stitt, and too many others to mention. His eponymous group, Jaman, was formed in 1970; they toured the US and Canada steadily in the years that followed. He became, in short, one of Buffalo’s true jazz stalwarts, and so he remains.

But despite a life lived deep within the music, Jaman only recorded a single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group playing a mixture of covers and originals. The whole LP showcases an ensemble in compete control, and with the flying, spiritual sound of ‘Free Will’ and the upful, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since become a legendary collector’s classic. Unavailable since its original issue, Outernational Sounds is proud to present Jaman’s Sweet Heritage – the soulful and spiritualised sounds of a master at work."

James Ruskin & Mark Broom are back as The Fear Ratio with their third album ‘They Can’t Be Saved’.

180G 2x12"

The duo, who are long-term collaborators have created their own signature style with abstract synths, heavy basslines and experimental soundscapes that fit somewhere in between IDM, electronica and ambient.

Their acclaimed debut album ‘Lightbox’ was initially released in 2011 on Ruskin’s Blueprint Records, featuring remixes from Warp aficionados Plaid and Deadhand. Soon after they formed a long-lasting relationship with cult Manchester based label Skam, with the follow-up album in 2015 ‘Refuge of a Twisted Soul’.

2018 saw a four track ‘Live EP’ release made up of exclusive versions of their Autechre supporting slot at the Great Northern Warehouse in Manchester, Several years and various solo productions later, The Fear Ratio return with an album that solidifies their reputation as experimental producers.

From the ethereal opening bars of ‘Sender’ slowly twisting into a brooding dub breakbeat, to the staccato, bugged out atmospherics of ‘Grey Code’, ghostly electronics of ‘Small World’, tripped out, schizophrenic hip hop haunting bass of ‘Game Plan’ and sun-dappled keys of ‘The Final Vision’ Broom & Ruskin flex their techno muscles ever further beyond the floor.

10” clear vinyl) Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music.

Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music. Torchbearers of techno as a life-affirming vehicle for human expression, as can be experienced through their multi-dimensional back catalogue of solo records and shared live performances at some of the finest clubs and events including Concrete, Goa Club and London’s E1, it's safe to say Jochem and Luca share a certain taste for taking things off the beaten path and into new perspectives. True to their bold approach towards production, 'Seventeen Zero Four' proudly continues the pair's tradition of chiselled floor-focused shifts and divagations outside the ringfenced domain of no-nonsense 4/4 mechanics initiated on their self-titled debut album in 2013.

Drawing first blood, the title-track 'Seventeen Zero Four' submerges us in a state of amniotic solitude as hell's all set to break loose around. Sonar bleeps drip and dissolve across invisible plateaux as thunder rumbles and roars in the distance, mirroring and shattering all linearity between the bars. 'One Zero Five' then implements a further straightforward groove, sequenced hats and kicks carving out a more familiar scenario for the dancers to appropriate, whilst maintaining that oddball, slightly off kind of minimal, dubbed-out blur. Rounding off the package, 'Twenty Zero Two' throws further jazz into the mix, letting its sine curves hula hoop into the upper layers of the outer-audio-space as a shrewdly engineered industrial swing drops the hammer for an epic last stretch.

Legendary genre-bending, multiple Grammy and Emmy-winning artist and producer 'Robert Glasper' releases his newest project "Fuck Yo Feelings". It's the result of a 2-day session in which Glasper invited musician friends to stop by the studio and organically create together, the final result being this mixtape which sonically documents the lost art of improv and on the spot collaborations that can only come from authentic relationships and true artistry.

"The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now."

Rarely does a record so perfectly encapsulate the essence of Hawai‘i.

During the 1970s and 1980s, Hawai‘i’s live music scene was at its peak. Countless clubs, lounges, and bars filled the islands. Musicians embraced and experimented with all manner of ideas.
Among them were Steve Ma‘i‘i and Teresa Bright, a harmonizing guitar-and-bass duo that floated somewhere between nostalgia and an unassuming island sound. They could fill a concert hall or bring the family together at a backyard kanikapila with their music.
Both singers share backgrounds rooted in native Hawaiian culture; Steve once the bassist for musician/ activist George Helm, and Teresa the daughter of hula dancer Carol Bright and musician Daniel Bright. Together, they crafted a refreshing approach to jazz standards, traditional Hawaiian tunes, and hapa-haole classics.
Steve and Teresa enchanted every listener they encountered, including engineer Rick Keefer, who convinced the pair to record at his Sea-West Studios in nearby Hau‘ula.