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Albums often try to evoke a time and place, few manage to do that with such startling effect as the unlikely collaboration, Leave the Bones, between the multi-generational Haitian band Lakou Mizik, and Grammy-winning electronic music artist Joseph Ray. “Haiti'' is a word that conjures up a lot of images, it is a country judged by many, most of whom have never set foot on its shores. But its history is rich, its people proud and defiant, and nowhere is that more evident than in its music. Culture is what defines the country - its drums and Vaksins (traditional horns) are symbols of freedom and pride, liberty and struggle, and represent the escapist joy of dancing. Leave the Bones paints a musical portrait, a fresh glimpse of an oft misrepresented country, that through Vodou chants, chest-pounding Rara dance tunes and contemporary protest songs, conveys the listener to Haiti’s spiritual heart, a place that remains a compelling mystery for foreigners and a source of pride for every Haitian.

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

Matt Berry’s second album for Acid Jazz was the
astounding ‘Kill The Wolf’. Building on and
expanding on the sound of his label debut, it mixed
baroque folk with psychedelia.
Containing the well-received single ‘Medicine’, the
ruralistic ‘Gather Up’, as featured in ‘What We Do
In The Shadows’, and the nine minute ‘Solstice’, as
championed by BBC Radio 6 Music.
This is the album’s first reissue on vinyl and comes
as a reproduction of the rare gatefold issue,
complete with insert, this time pressed on bottle
green vinyl.

To celebrate its tenth Anniversary, Matt Berry’s
debut album for Acid Jazz, ‘Witchazel’, returns to
the shops with this caramel vinyl edition.
Featuring the theme from his BAFTA Awardwinning TV show ‘Toast Of London’, ‘Take My
Hand’, it has been his biggest selling album and
has been out of print on vinyl for several years.
Acclaimed at the time of release, The Guardian
said “‘Witchazel’ is enchanting… genuinely
impressive,” while The Times labelled it “… psychfolk genius.” The album has since matured into an
acknowledged classic

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.

Tom Frankel and Dayne Harper, founders of the record label Council Work and purveyors of British underground dance sounds, make their debut as duo Frankel & Harper on Time Is Now's white label series. They serve up five killer cuts of explorative bass-driven production.

The EP opens with "Track & Trace", a smooth but high intensity roller that never gives you a breather from the heavy sub bass. The breaks that hit after the drop push the momentum for the rest of the record. "Ultraheat" features clever chopped up vocals and bubbling effects that create a skippy, upbeat shine to a forward beat that would be at home in the dark of the club.

More clubwise production on "Every Grain of Sand", where echoed samples give a cavernous space to the track which is filled by shimmering arps and the low-end rumble of bass, real late night business that rolls into "Heinous Fly Trap's classic heads-down garage sound. Shuffling house energy meets two-step on "Magnolia", bringing the party energy for
the record closer.

The album was written and recorded in Nashville with GRAMMY® Award winning Producer of the Year, Dan Auerbach, at his legendary Easy Eye Sound studio this past year, fronted by Shannon Shaw and Cody Blanchard on lead vocals. It is an endlessly vivacious, ebullient, and clever album from the kings and queen of the Bay Area garage punk scene. Fresh off of their supporting tours with the likes of The Black Keys and Greta Van Fleet, they returned to the studio with their unique vintage sound that incorporates wonderfully strange elements of doo-wop, classic R&B, garage psych and surf rock to produce this timeless gem from these perennial favorites. Includes a Limited Edition Midnight Wine Coloured LP version for High street and own website stores

Bachman-Turner Overdrive, very often simply referred to as BTO, were a Canadian rock band active in three different intervals from 1973 until 2018, with the latest incarnation performing under the name of Bachman & Turner. The original line-up consisted of Randy Bachman (lead guitar, lead vocals), Fred Turner (bass guitar, lead vocals), Tim Bachman (guitar, vocals) and Robbie Bachman (drums).

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Collected is a compilation featuring the band’s greatest songs released between 1973 and 1996. Some of the hits included are “Let It Ride”, “You Ain’t Seen Nothing Yet”, “Hey You”, “Down to the Line” and their rendition of the traditional folk song “The House of the Rising Sun”.

Whether you’re a new listener or a long-time fan of Bachman-Turner Overdrive, this compilation is essential and captures the band’s early career beautifully. The Collected package comes with liner notes and photos.

Behind The Dykes is a 2LP compilation presenting the best bands and artists the Dutch had to offer in the period 1964-1972. The Netherlands were the first non-English speaking country to storm the Billboard Hot
100 with a string of hit singles from bands such as Shocking Blue,
Focus, George Baker Selection, Golden Earring and Tee-Set. This
2LP presents the bands that followed closely behind, with singles and albums that internationally have become highly sought-after records. Some bands with a rich discography, others with no more than one or two singles under their belt. Original singles of many of these tracks are currently offered and/or sold for hundreds of Euros on Discogs, and many original pressings were so limited at the original time of release that they are impossible to find.

The album is released under the Decca brand with the classic logos and labels. The full color printed inner sleeves contain liner notes about each individual band with the original single artwork, while the inside of the gatefold sleeve contains photos of the artists featured on this album.

Revolving around three Magma members (Jannick Top, Joel Dugrenot et Yochk’O Seffer), Speed Limit has put out two cult albums during the 70’s, paying homage to Miles Davis’ Bitches Brew as well as Nucleus’ Elastic Rock. Mixing jazz, progressive rock, avant-garde pop, classical and Zeuhl music has never been a problem for the French septet, and even though its name sounds pretty obscure for the mainstream amateur, every French underground music lover sings praises about the band

Fragments, The Debut Album From Trifecta (Beggs, Holzman, Blundell)
Trifecta, a new addition to the Kscope roster, features 3 of the contemporary
music scene’s most lauded and revered musicians - bassist and songwriter Nick
Beggs, keyboardist extraordinaire Adam Holzman and completing the line-up,
Craig Blundell - one of the world’s most celebrated drummers.
Having performed together as part of Steven Wilson’s band, the three would
jam together after soundchecks and from these sessions the fledgling ideas for
Fragments were born. Nick Beggs comments “after the last tour with Steven
finished, we had a handful of tracks ready to work on and as we moved through
our various separate projects we agreed to work on Trifecta.”
The record primarily leans toward a fusion of jazz rock, being instrumental except for the first single (the wonderfully titled “Pavlov’s Dog Killed Schrodinger’s Cat”), the lyrics of which, Beggs states, “are written from the perspective of
a layman trying to understand quantum mechanics...and failing.”
Each band member completed the recording and engineering of their own
contributions in their various home studios, helping to bring their individual
production ideas to each track. Adam Holzman mixed the record at his New
York home studio with the mastering handled by Andy VanDette (Rush, David
Bowie, Deep Purple, Porcupine Tree, Beastie Boys) in New York.
Asked what fans of the musicians can expect from Trifecta, Beggs says, “Fission!
It’s like Fusion but less efficient and more dangerous.”
The debut album resulting from this “fission” of these extraordinary musicians
is entitled ‘Fragments’ and will be released on Kscope on 20th August 2021.

Kate Taylor, of the renowned musical clan that includes brothers James,
Livingston, Alex and Hugh, is releasing ‘Why Wait!’.
The album reunites her with many of the key players who backed her on her
1971 debut, ‘Sister Kate’, including renowned session musicians Russ Kunkel,
Danny Kortchmar, and Leland Sklar.Produced by GRAMMY Award-winning music veteran Peter Asher, who was also at the helm for the ‘Sister Kate’ sessions,
‘Why Wait!’ marks the 50th anniversary of ‘Sister Kate’, which launched her
music career.
James Taylor told Rolling Stone: “For Kate to be doing this with Peter, and that
both of them have this life experience that brings them back together, it’s really
a moving thing. I think it’s so great that Kate will have this next iteration, you
know, this next chance for people to hear her and pick up on her.”

To celebrate its tenth Anniversary, Matt Berry’s
debut album for Acid Jazz, ‘Witchazel’, returns to
the shops with this caramel vinyl edition.
Featuring the theme from his BAFTA Awardwinning TV show ‘Toast Of London’, ‘Take My
Hand’, it has been his biggest selling album and
has been out of print on vinyl for several years.
Acclaimed at the time of release, The Guardian
said “‘Witchazel’ is enchanting… genuinely
impressive,” while The Times labelled it “… psychfolk genius.” The album has since matured into an
acknowledged classic

Comes with POSTER and digi dowload

Destruction by IND (Artist) - English version below.

Ce morceau est une tentative d'allégorie de la situation actuelle, entre confinement collectif et confinement individuel, ou comment en etant seul l'on peut se retrouver confiné en nous meme, et comment ce regard sur soi peut se transformer en catharsis si on ose le soutenir.
C'est un peu expérimental, j'espere que ça vous parlera!

C'est l'histoire de quelqu'un posé chez lui, seul.Dans sa solitude l'anxiété monte, et pour tenter d'attenuer cela, il décide de sortir à l'extérieur.il passe la porte de chez lui, se retrouve dans la rue, sous la pluie, dans l'orage.Les rues sont vides, vides comme son intérieur à lui, et ce vide ne fais que grandir cette anxiété qui le prend.Il marche, explore, pense, se perd, et finit par trouver un batiment dont il ne connait pas vraiment l'origine ni le but. Ca ressemble à une usine abandonnée, mais l'est ce vraiment?il décide d'entrer, se retrouve a l'intérieur, il fait sombre, l'angoisse grandit en lui.Pour retrouver un peu de lumière, il entrouvre une porte qu'il avait aperçu en entrant, au fond de la salle principale, et sort dans une petite court intérieur, quelques plantes ont poussé. Au fond de cette cours, et bien qu'il sache pertinemment, à l'image de son intérieur a lui, que certaines portes ne doivent pas,ne doivent plus être ouverte, il trouve une lourde porte de metal et l'ouvre.
Devant lui des escaliers, qui le mènent dans la cave, dans sa cave, a l'intérieur de lui meme, là ou la lumière n'arrive plu.Et attiré par la noirceur il descend.
Ses pas résonnent , et arrivé en bas, il découvre ce qu'il n'aurait pas du voir.alors l'instinc de survie reprends ses droits, et il court, il court et s'enfui, remonte les escaliers, ressort du batiment et revient dans la rue, vide, mais en sécurité, l'angoisse a disparue, car des fois, se confronter a notre noirceur la plus enfoui, permet de la mettre en lumière, et ainsi la dompter.

his track is a kind of allegory, a trial to express the feeling of these weird times , the lockdown we live ,wich is as external as its internal...How the anxiety grow and how our internal vibe could be felt as empty as the streets around us while seeing nobody all day long.
This is the story of someone, at home.He feel the anxiety grow in him, and decide to go outside, but all the streets are empty,like himself. he walk and as he walk the anxiety continue to grow.Finally he find a building, unknowing if its a factory or what but its abandonned, ,he goes inside to explore, arrive in an indoor course, and see a door...being intrigued, he decide to open this door and to go down the stairs he have in front of him...The more he descend, the more the fear and anxiety grow, as he goes down inside his mental.Finally he arrive in the basement, and what he see is too rude for him, and so he decide to run and escape from this, from himslef.
he run run run, go upstaris, open the doors and arrive in the street, safe.And without any anxiety, because sometimes, to go face to face with our deepest dark side, let us put light on it, and so let us tame it.

When Le Peuple De L'Herbe Meets Aphrodite ! Crazy ragga jungle hi time ! Benny Page and more surprises here again ! MASSIVE label ! A big masterpiece !

Tetrabass factory double LP compliation of praised unreleasqed tunes on vinyl !

Massive dancefloor weapon !

DIE NEUE ZEIT

Old time? New time!

And of course an exciting time - and thus time for DIE NEUE ZEIT and their eponymous high-speed statement "WIR SIND DIE NEUE ZEIT"!

But who is behind DIE NEUE ZEIT? We simply don't know! And we don't want to know. What we know is that these two daredevils race through their theme tune with sheer intensity - there simply is no stopping them - and you better don't - because when that cow bell gets loose … heaven forbid!

For extra extensive play of "WIR SIND DIE NEUE ZEIT" we strongly advise to make good use of the vocal AND the instrumental version playing both back and forth until all dancers surrender to the rhythms of DIE NEUE ZEIT.

Now tanz' die neue Zeit und geh' in die Knie und klatsch in die Hände, beweg' Deine Hüfte! The new time has come!

Mause makes his debut release on npm with a stunning 4 track EP entitled ‘XOR’.

Starting with ‘LocriLogAcid Seq’ serving up soothing melodies that make you want to drift away on the dance-floor. ‘SeqTuningMlog Acid1’ proves that Mause isn’t averse to switching up tempos and beats with a powerful, trippy acid induced journey.

The cleverly structured ambient and melodically complex ‘Strimsang Baecon4’is reminiscent of early Aphex Twin with pure electronic bliss whilst ‘Sunday Multi Acid Seq20d’ is a strong finish to the EP delving deeper within the realms of electro and acid techno.



c 3 Strimsang Baecon4



c 3 Strimsang Baecon4

We are super excited to introduce our label Altered States with this four track EP by one of the label-heads Green Ink, a showcase of his versatile production with dancefloor focus.

After his first vinyl release on Andrew Thompson’s and Auntie Flo’s HIGHLIFE Imprint, and collaborating with Nicola Cruz, bedroom producer Green Ink gained confidence in his creations. Dedicating most of his free time to music, the idea of an own label developed. Together with his good friends dj n/a and visual artist Han$ Wor$t the concept of “Altered States” materialised, and finally comes to life with this release.

For RE:WARM 006 we present a collection of music from one of San Francisco’s best kept secrets, Dr Robert Blackman. “The Unimaginable DreamWorks” is a collection of five tracks from three musical masterpieces he put out between 1983-1985 on his own ‘Riverwinds’ imprint. A practising chiropractor by day with his own holistic health centre in San Francisco, these songs became his love, passion and focus. Together with Michael Pluznick, a very accomplished percussionist they painstakingly put together an ensemble of musicians to bring the tracks to life. The melting pot for this body of work was Hyde Street Studios which still today is based in deepest San Francisco and has seen names such as Neil Young, Earth Wind & Fire and John Waters to name a few grace its studio space. Singers and musicians alike came together from all over the world to bring Robert’s vision to reality. This included an Australian didgeridoo player, an electric violin and piano player from Paraguay as well as singers and a choir from the surrounding local churches. Together through Dr Robert Blackman’s eyes they created a fabulous sound of twisted disco punk funk like no other that still sounds relevant today as it did back in the eighties. The energy and the stories are clear to hear throughout the five tracks which make up “The Unimaginable DreamWorks” of Dr. Robert Blackman 1983-1985. Artwork was key to the releases and the “Peace Is Alive” painting incorporated on the label of the release appeared in TIME magazine in 1984 when Dr Robert Blackman was treating combat vets, suffering from PTSD and this was the name of the job fair for veterans he set up. To promote the album at the time Dr Robert Blackman flew up over San Francisco in a single engine prop airplane loaded with 50,000 leaflets

Downfall Recordings present the Infected Machinery EP with four brand new raw analogue acid tracks timed to hit the dancefloor as clubs reopen. As well as residents ConSequence and The Auditor they also bring tracks by two respected artists Jerome Hill and Fajack.

The United States vs. Billie Holiday, in which Andra makes her feature-acting debut staring as Billie Holiday, will shed light on the innovative vocalist's embattled years as a target of the Federal Bureau of Narcotics--the unit sought to imprison Holiday on drug charges, a retaliatory action given her dedication to singing highly politicized songs like "Strange Fruit" and her efforts to integrate her audiences. In the upcoming film, directed by Lee Daniels and written by Suzan-Lori Parks, Andra stars alongside Moonlight lead, Trevante Rhodes.

Andra's iteration of the jazz-infused recording adheres to the cool, sultry stylings of Holiday's original. By stepping into her predecessor's persona, Andra brings the past to the present, adopting a vocal approach and musical sensibility that's nothing short of a classic.

The legendary Billie Holiday, one of the greatest jazz musicians of all time, spent much of her career being adored by fans across the globe. Beginning in the 1940's in New York City, the federal government targeted Holiday in a growing effort to escalate and racialize the war on drugs, ultimately aiming to stop her from singing her controversial and heart-wrenching ballad, "Strange Fruit."

Led by Oscar® nominated director Lee Daniels and introducing Grammy® nominated singer-songwriter Andra Day, The United States vs. Billie Holiday unapologetically presents the icon's complicated, irrepressible life. Screenplay writer Suzan-Lori Parks, the first African American woman to win a Pulitzer Prize for Drama, pens this intimate tale of a fierce trailblazer whose defiance through music helped usher in the civil rights movement. NAACP Image Award® Nominee Trevante Rhodes and Emmy® Nominee Natasha Lyonne co-star along with Garrett Hedlund, Miss Lawrence, Rob Morgan, Da'Vine Joy Randolph, Evan Ross, Tyler James Williams, Tone Bell, and Erik LaRay Harvey.

Repress

Tiga's drops BUGATTI. Another irresistible one-liner on the dance-floor that can't be missed or forgotten.

So much sex and attitude, so few elements. A staccato kick-snare rhythm, a robo-funk synth line, a futuristic pad, a detuned ride, a cheeky vocal hook and a one-note acid line that brings it all together. That's it. All you need if you know what you're doing and have an experienced pair of Canadian Electro-godfather balls intact. Tiga has made a career out of being catchy: from Sunglasses to Mind Dimension, from Plush to Pleasure From the Bass, from You Gonna Want Me to Let's Go Dancing. How does he do it

It's his ability to drop a clever turn of phrase that separates him from the pack, but the strength and character of his production choices keep things clear of kitsch and make him a perennially hot-tipped cool-commodity everywhere from the great American EDM stage to the hallowed-haus of Panorama's deep underground credibility. His career is like a Veyron - stable AND insane.

So listen to it, get it stuck in your head. This track is crazy dope, it doesn't sound like anyone else, and it's the most hip-hop thing all you house DJs are likely to fit into your sets this weekend so go on, get loose and take it for a ride.

This is what Tiga had to say about the Vinyl-Only remixes 12" :

For this, my most personal record, i hand selected remixers of the highest order. Cliff Lothar, absolute legend, and current king of the enigma groove, delivers an absolute masterpiece. It's seriously a 10 on 10, and I never say that. Vinyl only bitches. Perth Drug Legend, somebody else who I kinda know and yet totally don't know (or I guess I just thought I knew) slams the 'gatti with raw tribal funk: again suitable for a warehouse or a particularly forward-thinking car dealership. Rebolledo, one of the few men i actually trust, comes in with a slightly electrofied extended party mix. God I'm happy. Full disclosure: there were a few people who did remixes that were rejected. I will reveal their names publicly in good time. Good day. T.

Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.

Mammal Hands — Chaser/Prism 7" (GOND07001)

Captivating, ethereal and majestic, Mammal Hands are driven by their unique line-up of drums, piano and saxophone. Their hypnotic music draws on a rich well of influences from Sufi trance and West African music to folk music, contemporary classical, spiritual jazz and electronica to produce something uniquely their own. Their 7" features two brand new, previously unreleased tunes.

Side A Chaser is a punchy, hypnotic tune with an enchanted melody that'll take you on a magical journey. All in less than 4 minutes

Side B Prism is a mysterious ear-worm, ethereal but catchy, it sounds like nothing else the band have ever recorded.

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid 90's. His latest opus is also his first for release for Editions Mego.

With an extensive catalogue under his belt, one may wonder where this one takes us? The 8 of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with "Skoda Mluvit" from 2006. In the age of scattered streaming listening habits The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an 'audio-movie'. The 'plot' revolves around a post-dystopian landscape which posits the make up of reality in the future.

The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological & technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic & digital possibilities that range from heavily processed acoustic & electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog & digital drum machines & effect units, hardware and software processing. Experimental & extended musical techniques build a world of musical elements that is sometimes upside down and mirrored. Electric guitar becomes rhythm machine & modular system, voice becomes sound object & synthesizer, effects are used as instruments, acoustic guitars are being modulated by voices etc. Reality and illusion are getting mixed up. One can hear short moments of longer recordings in the tracks which are snapshots of bigger musical pictures that lurk behind what's actually audible. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms & cascades based on the concept of chance attributed to the service of the SONG.

The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the 'I' or 'me' is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalised voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. It can be seen as a post-human, or even a trans-human character, a combination of human & technology, uncertain of the future, which lends iBot it's melancholic tone.

In the opening song "Light & Grace" iBot appears in an advanced form of AI, which managed to hack & hijack a commercial space travel program (eg, Virgin Galactic) to invite those rich, who profited most from the destruction of planet earth, for a holiday trip into space to unknowingly fly them directly into the middle of the sun. In this episode it seems to have developed higher ethics than humanity itself with ambition to save the planet with as much of its cooperative life as possible."Light & Grace" serves as an intro / opener for this album to be followed by 7 other tracks featuring different windows of consciousness represented by diverse characters & protagonists.

All the elements on The 8 of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

A producer with 20 years of experience perfecting his craft, we’re excited to welcome Ramon Tapia to Drumcode for his debut EP.

The artist previously contributed a pair of cuts to the A-Sides series in recent years with ‘Sonic Therapy’ and Drum Control’, while also playing the Drumcode stage at Tomorrowland in 2019. Elsewhere he’s dropped heat on Truesoul, led by the crisp groover ‘Manipulate’. His ascension to Drumcode for his first full-fledged solo EP release is richly deserved.

As with so many during the past year, Tapia’s taken his studio work in colourful and interesting directions. ‘The Future of Mankind’ is a multi-faceted beast. The title track is a straight-up weapon, driven by an ascendent riff that’s energetic and hopeful in equal doses. ‘Song of Sirens’ sees ambient pads and rolling percussion combine for a quality cut every DJ needs. ‘Screwdriver’ does what it promises on the tin; guttural and textured, it’s a necessary transitional tool for every techno set. ‘Hold On’ is the kind of emotion charged dance music that’ll make us go collectively weak at the knees when raving returns. We’re already excited to hear it rinsed at Drumcode Festival in Malta this September, when Tapia joins the party.

Bjarki’s bbbbbb records welcomes its first-ever non-electronic project as Icelandic rock band Skrattar joins the label to unveil their thirteen-track album, ‘Hellraiser IV’.

Four-piece outfit Skrattar can be described as cigarette rock with an electronic vibe that makes your upper lip sweat. Having already developed a loyal fanbase in Iceland as a powerful live act with an energetic and provocative stage presence, the band now look further afield to global horizons as they reveal their latest album, ‘Hellraiser IV’.

With the release of ‘Hellraiser IV’, bbbbbb broadens its catalogue beyond dance and electronic music. While the label’s primary focus will remain electronic, several other genres will also feature - the connecting factor being that the music is Icelandic, experimental and fresh... the best that grassroots has to offer.

‘Good music should be heard, and this is my take on delivering probably the best music coming from Iceland at the moment. It’s an honest, wild love story of true friendship and creativity coming together in one album’ - Bjarki

‘Hellraiser IV’ contains thirteen tracks written over three years, with the oldest songs composed the year the band was founded, 2016. In 2019, when a good foundation for an LP had been laid as the band gained followers and honed its sound, they locked themselves in the studio until they completed the album. With many of the tracks composed in the dead of night, containing both lyrics written over a long period as well as improvisation, the final product is a record made by them from A to Z, in line with the band’s endearing DIY ethos.

‘Skrattar’ is Icelandic for a specific type of demon that you can’t control, but in Swedish, it means ‘to laugh’ - with laughter involved across many of the tracks on ‘Hellraiser IV’ as if to mock the dualism of seriousness. Their subject matter is chaos and anarchism - but their humour and satire are never far away. The music is an ode to the eternal void, while at the same time laughing in its face.

In addition, a remix album will be released digitally alongside Hellraiser IV, reimagined and reworked by a host of fellow musicians, producers, and artists. Among them, label regular Kuldaboli, bbbbbb boss Bjarki, DJ Flugvél og Geimskip, russian.girls, KGB and Anton Newcombe - the founder of The Brian Jonestown Massacre.

Influential continues its run of outrageously good jungle in the 93-95 vein, with this incredible EP from newcomers Champion Sound. Mashing up huge amen edits with deep dancehall vibes and samples, this EP is both authentically old skool yet full on bass heavy vibes for 2001

Dj Ham (aka Hamilton) is a Kniteforce original artist, one of the ones who were there from the beginning and were part of the original success of the Kniteforce label as a whole. His classic work includes Most Uplifting and Let Yourself Go, the second of which gets a huge remix on this EP! But that’s the last track on the EP, because as good as it is, it is eclipsed by Dj Hams new work. Give It To Em contains all the elements you would expect – an old skool sound, sure, but innovation and trickery to stun and amaze while forcing the dancefloor to explode. Likewise, Noise Up grabs you by the ears and will not let go until its had its wicked way with you. A big EP from a big artist, not to be missed….

You have never heard of Janet Beat. She has been making beautiful electro acoustic work since the early 1960s. Loads of people tried to stop her making music, people like her parents and male musicians who probably felt threatened by a talented woman in their post war male dominated electronic field. Her music has not been issued before. It’s here now, you lucky people. And no, I have not made her up.

Janet Beat does not make beats. She makes sublime electro acoustic music, much of it sounds like the music from Forbidden Planet, or maybe music just beamed in from another planet. Her early 1960s tape work was all destroyed by her father when he used her tapes to hang up his tomato plants. What a bastard. Anyway, her late 1970s and 1980s work has survived, and here it is for the very first time. And before you start asking questions about the title of this LP, I asked Janet Beat if it was OK. I spent ages trying to think of a good title, but then looked at the superb photo of her in her front room (the one on the LP front) and my mind was made up.

Louie Vega and Dave Lee remix Anané’s single ‘Tell Me That I’m Dreaming’ on Nervous Records this summer.

The powerful yet intimate voice of Anané Vega, owner of Nulu Music, radiates rhythm, soul and style. Billboard Magazine described Anané as “combining earthiness with glamour and roots-deep house music knowledge with pop wise diversity” - a quote that her music and fashion adhere to effortlessly.

‘Tell Me That I’m Dreaming’ sees Anané join the legendary NYC label's roster as she combines funky electronic, funk-infused grooves and a compelling voice that gracefully floats over Louie Vega’s sensual production. A leader in global dance music and Grammy Award Winner, Louie Vega has painted an award-winning career from a palette mixed with everything from house, salsa and afro-beat, to jazz, hip hop, gospel and soul. Vega continues to lay down genuinely timeless music, rightfully earning him the title as one of The Kings of House Music.

Renowned UK artist Dave Lee blends low-slung disco rhythms, irresistible slap bass and acid zaps in his remix that sits wonderfully above Anané’s vocals that inspire strength and pure love.

Superb Tribe dancefloor offering 4 Tribe/Hardtek tunes, classic and well done.

bullet-proof packing with inner sleeves and 3mm black Spinned.

While the pandemic paralyzed the entire world and prevented bands from touring, Latin America's biggest metal export SEPULTURA refused to sit back and act like an animal trapped in a cage. Like the flowers growing out of the deceased bird’s body depicted on the stunning colourful cover artwork by Eduardo Recife, the thrash metal pioneers from Belo Horizonte made good use of their unexpected free time to start a project that kept them busy throughout the entirety of 2020:

‘SepulQuarta’ was born at the very beginning of the pandemic when everything was halted”, guitarist Andreas Kisser remembers. “We had a new album out, but we couldn’t tour for it. Therefore, we created this recurring event where we could talk with our fans around the world, play our music and exchange ideas, it was a blast! »SepulQuarta« kept us alive and strong throughout one of the most difficult times in human history.”

“Doing Sepulquarta during this period allowed me to stay in contact with music. Playing my instrument was the only thing left to do in this pandemic,” adds drummer Eloy Casagrande, and indeed, music seemed to be a good way of coping with the never-ending lockdown and fear of loss and isolation that haunted people worldwide. Obviously, the Brazilian pioneers were not the only musicians feeling this way, so they started to connect with friends and colleagues worldwide and asked them to not only be part of their weekly podcast, but also join them in playing one of SEPULTURA’s classics tracks. From the safety of their homes, international stars like David Ellefson, Scott Ian, Danko Jones, Devin Townsend, Matt Heafy and many more recorded a SEPULTURA track together with the band, which have now been mixed and mastered by Conrado Ruther.

“We invited our amazingly talented friends to be a part of our project, either jamming with us or as a guest in the many Q&A’s we promoted,” Andreas explains. “We talked about our history, music, politics, sports, philosophy, depression and the environment among other things. We learned a lot with specialist guests and many of the great minds of today. Here you will find unique performances of SEPULTURA’s music from the many phases of our career, with amazing guest musicians that lent us their talent and energy to record these historical versions!”

repressed !

* The album is titled Timespan and is by the veteran Pittsburgh artist Shawn Rudiman and will be released on November 24th worldwide on 2xLP and digital. The album is a carefully curated journey through almost 20 years of Shawn's music productions. The tracks collected here--the majority of which have not been heard outside of Shawn's studio--showcase a producer with seldom matched knowledge of studio techniques, while also hinting at his world renowned live performances. Having access to a vault of hundreds of unreleased compositions, we believe this is an important step in documenting Shawn's contribution to Pittsburgh and American dance music.

* Artist Statement: "All of these tracks are simply snapshots of my life moments. They go from base-level warehouse to more cerebral sophistication. So, take them as such. Timespan sums it up well. Some songs are almost 2 decades old, some are fresh. It's a paragraph written with words that have years between them. Somehow they still all sort of make sense together." - Shawn Rudiman

* Press / Promotion: HYPE / Jamie Russell + EPM

Das britische Produzentenduo Jungle meldet sich zurück.
Das kommende Album von Jungle - ihr drittes - „Loving In Stereo" wird wahrscheinlich der Soundtrack zu einem Sommer werden, der anders ist als alle anderen. Das Duo hat das vergangene Jahr im Studio verbracht und ist mit einer unbändigen Dancefloor-Platte für die post „social distancing" Zeit herausgekommen: „With this record we’ve learned to trust our instincts and go with our gut,” sagt T. „We want it to be more raw, open, fun, enjoyable and entertaining, because that’s what music is,” fügt J. hinzu.

J und T sind das pulsierende Herz von Jungle, wo Musik, Ästhetik und Choreografie als eine unverwechselbare künstlerische Vision nebeneinander bestehen. Mit dem gleichen Ethos wie z.B. Gorillaz oder The Avalanches sind die beiden die Produzenten, Songwriter und Musiker, aber sie sind auch die Regisseure, Content-Schöpfer und Kuratoren. Sie stehen an der Spitze einer größeren Gemeinschaft von Kreativen. Sie sind Weltenbauer.
Mit dem neuen Album wird dies auf eine neue Ebene gehoben, wobei das größere Jungle-Kollektiv von Tänzern ein integraler Aspekt ist, wie die Musik visuell erlebt wird. Mit jedem Video, bei dem Josh Lloyd Watson und sein langjähriger Mitarbeiter Charlie Di Placido Regie geführt haben, schaffen sie es die Fans zu begeistern. Das Video zu „Keep Moving" ist in einem Take gedreht - teils Birdman, teils West Side Story und zeigt zwei Gangs von Tänzer*innen. Es beginnt mit dem Tänzer Che Jones (der im Video zu „Smile" vom letzten Jungle-Album mitspielte) in seinem Schlafzimmer und führt zu einer Szene im Freien, in der wir Mette Linturi (die im Video zu „Casio" vom letzten Album mitspielte) finden. Der Rest ist eine wunderschöne Entfesselung, die so atemraubend zu beobachten ist, dass sie den Zuschauer mit einem Gefühl der Ehrfurcht zurücklässt.

In ihrer bisherigen Karriere haben Jungle bereits auf mehreren Kontinenten gespielt und eine stetig wachsende internationale Fangemeinde gewonnen: Headline Shows von Sydney bis Moskau, vom ausverkauften Londoner Alexandra Palace mit 10.000 Plätzen bis zum 9.000 Kilometer von ihrem zu Hause entfernten ausverkauften Hollywood Palladium und Festivals wie Coachella, Bonnaroo und Lollapalooza. Ihr für den Mercury Prize nominiertes und mit Gold ausgezeichnetes Debütalbum und der Nachfolger "For Ever" von 2018 erreichten beide die UK Top 10. Diese beiden Alben haben seitdem 750.000 Verkäufe und fast eine Milliarde Streams erreicht.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. Kenny Wheeler was born Canada in 1930 and, with encouragement from his father - himself a trombone player - began playing trumpet at age 12. After studying at Toronto’s Royal Conservatory, he arrived in London in 1952, his playing enveloped in the sounds of Miles Davis, Booker Little, and Fats Navarro. In 1959, Wheeler joined the Johnny Dankworth Orchestra and stayed there until 1963, although he returned frequently for shows and other projects in the years that followed. He quickly become a distinguished soloist in the Orchestra and appeared on Dankworth’s key sixties albums. Wheeler met and played with the rising artists of London’s free jazz scene. Players such as Trevor Watts, Derek Bailey, and Evan Parker, musicians who would challenge the conventions of the day, eschewing formal composition and structure to embark on group improvisation. For a musician thoroughly schooled in all the conventions of charts and dance bands as Wheeler was, this was a radical departure. Wheeler’s contributions proved his ample flexibility and showed he was capable of inhabiting both the free environment and the more formal and controlled settings of a big band and orchestra. This was shown most clearly on his debut album, Windmill Tilter, recorded for Fontana with the John Dankworth Orchestra. The album features a young John McLaughlin on guitar along with bassist Dave Holland and a roster of talented and well respected musicians playing on one of the greatest modern jazz big band and orchestral albums.

Aus Down Under stammend, sind sie nun auf dem Weg nach ganz oben. Melbourne’s THE UGLY KINGS stehen mit ihrem bombastischen, zweiten Album Strange, Strange Times, welches am 13. August 2021 auf Napalm Records erscheint, in den Startlöchern um für mächtig Furore zu sorgen. Die vierköpfige junge Band vereint ihren unverkennbaren Power-Blues und rohen Punk mit einer metallischen Rockkante und dürften mit ihrem Sound bei Fans von Bands wie den Queens Of The Stone Age, Danzig oder The White
Stripes voll ins Schwarze treffen. Messerscharfe Riffs, dynamische Grooves und clevere, eingängige Vocals machen Strange, Strange Times zu einem Album mit hohem Suchtpotenzial! Mit Strange, Strange Times ist THE UGLY KINGS ein erfrischendes, inspirierendes und grandioses Meisterwerk gelungen, und eine mit Sicherheit mehr als willkommene Abwechslung in diesen seltsamen, seltsamen
Zeiten.

Brock Van Wey returns as Earth House Hold and his third full album under the alias, continuing to explore the furthest influences of Ambient-infused, deconstructed Deep House in all its varying elements.

“...from the second I descended those stairs, lived it for myself, and the events that followed, I knew my life had changed forever. A life that brought with it a beauty as infinite as its pain”.

Daybreak Basements and Broken Hearts explores a new aspect of Brock’s early Deep House influences, one that meticulous followers of this guise would have been patiently trying to guess since his last outing in 2018. If Brock’s debut Earth House Hold album (When Love Lived, 2012) took the grooves and danceability from Deep House, and his second, (Never Forget Us, 2018), highlighted the powerful progression of vocals and melodies, then Daybreak Basements and Broken Hearts continues to build on the many aspects and inspirations of the Deep House genre, with a raw, dirty and somehow deeper take on the sound that Brock grew up with many years ago.

Brock’s signature vocals once again provide the narration and backbone to an album that is designed to progress; from its patient and spacious beginnings to its energetic and emotional closing chapters. Reverberating synths fill cavernous spaces as basslines rumble, bringing a darker, more abstract, early-morning vibe to an album born from a place of both reflection, and personal experiences.

“This is a house album in the purest sense of the word - just as much as the furthest thing from one that ever existed. As much a deconstruction of what deep house means as an attempt to reconstruct a time, and a life, it built.”

New 2022 pressing on black vinyl with download code. Originally released on vinyl in 1981. Long lost live album (exept for RSD 2021) and simply breath taking live Ubu classic culled from 1981 recordings in Cleveland, London and Brussels featuring the band's original line up. An essential part of Pere Ubu's catalgue, for all fans of the the celebrated post-punk innovators.