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Renowned Dutch violinist and conductor André Rieu released this Live album in 1995. It features 12 of his best interpretations of songs from a wide variety of genres. Some of the songs included are “J ‘Attendrai”, “The Little Cafe By The Harbour (Het Kleine Café Aan De Haven)”, “Eine Kleine Salonmusik”, “Auld Lang Syne”, “Granada”, “Cielto Lindo” and much more.

Live is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl.

Label boss Carlo rallies the troops again. This time for his own new collaborative EP, ‘VERSUS’.
Aterral regular, firm family favourite and one of the labels founding artists, Black Loops, steps up on the gorgeously groovy ‘Hungover’. No cloudy heads or slow steps on this collab. Woozy keys yes, but these are kept true by the spritely xylophone melody and warm rolling bass. A perfect opener from this pairing.
Following his popular DOS despatch, ‘Be Pe Em’, much was expected of Emanuele Barilli’s new adventure alongside Carlo. ‘Lelazo’ doesn’t disappoint. Sharp shuffle, filtered keys and popping bassline, all make for a perfect beach-bound soundtrack. Close your eyes, feel the sun on your skin.
From Hungover to another victim of the session, as Carlo teams up with German producer Hauke Freer on ‘Maison.’ Deep, low slung vibes on this ode to the sound we all love. Beautifully constructed, from its patient creamy bassline to its bright rimshots and tender vocal. This is our house. Our home. Come on in.
The most personal of Carlo’s new tracks brings things to a close as he teams up with his young son on ‘Einhorn Poops’. The sun’s warmth is felt again on this beautifully crafted slice of balearic house that matches O's vocals to the equally innocent chimes and bird song to create a fitting and sublime finale.

Brazilian soul, psych, bossa and jazz, reimagined from Berlin, via the Dead Sea, on Moriah Plaza’s dreamy first album for Batov Records.

Moriah Plaza co-founders Tamir Chen and Moosh Lahav first encountered and fell in love with the beautiful and hypnotic sounds of Brazilian bossa nova and samba as children in Tel Aviv in the nineties, via the many local bands and tribute groups that had sprung up since the first wave of bossa had hit swept across the world. Likewise
they developed a fascination with elevator muzak, film soundtracks, and even the hotel pianist performing day-by-day in the lobby of the Sheraton Moriah where Tamir’s mother worked, overlooking the Dead Sea.

Relocating years later to the vastly different environment of Berlin, capital of a country that enjoyed its own Brazilian moment, Tamir and Moosh’s shared passion for Brazilian music would encourage them to create their own songs inspired by the warm pulse of Brazil, albeit a world apart, through a vastly different lens.
Whilst the initial inspiration for Moriah Plaza can be traced back to Tel Aviv and the Dead Sea, the band itself was conceived by Tamir and Moosh in Solarium Studio, Berlin, from the broken fragments of their former shoegaze band, Soda Fabric, who had the honour of backing outsider legend Daniel Johnston. They would go on to write and record their debut album in close collaboration with two Brazilians and fellow Berlin residents,, poet and singer Cecília Erisman, and singer, songwriter, synth operator and Tropical Disco Club founder Flavia Annechini.

The album opens with “Desendereçada”. Dirty drum machine beats thud away under flutes and extraneous noises and a spoken word commentary. The oddness and allure of the intro is a perfect introduction to the world of Moriah Plaza.

The pace picks up on “Mais Amor”. A beautiful Brazilian soul jazz number with a sublime vocal from Flavia Annechini that will surely appeal to the global dancefloor jazz scene. “Te Peço” daws us in deeper with sweetest jazz vocal over an irresistible bassline and bossa drums that transforms halfway through into a modern soul rhythm crowned by flute and horns. A flute solo from Moosh Lahav leads us into the final uplifting refrain.

The Pharoah Sanders meets Ravi Shankar in Rio grooves of “Estelar”
have that fresh feeling that will certainly appeal to fans of modern favourites Rebecca Vasment and Ruby Rushton. Next up, the mysterious “Lagoon de Merim” is practically two songs in one, the first half an atmospheric string-topped number somewhere between Arthur Verocai and Cinematic Orchestra, before snappy drums beats and playful organ chords introduce a slow brassy samba that fills the whole sonic room.

“Teu Porto” is a must for all DJs, mixing calypso, highlife and house, lilting guitars and smooth vocals by Cecilia Erismann.. The deep samba house grooves of “Samba Moosh” close us out. The rich blend of sweet vocals, soaring flute and gritty synths carry us off into the sunset.
Moriah Plaza’s self-titled debut album is a major addition to the global soul and jazz scene. providing the perfect summer soundtrack for music lovers around the world.

Tief im glühenden Kessel von Texas haben die Alchemisten von Necrofier (mit Mitgliedern von Night Cobra, Oceans of Slumber, Venomous Maximus, etc.) mit ihrem zweiten Album "Burning Shadows in the Southern Night" eine weitere starke Dosis amerikanischen Black Metals gebraut. Das Vierergespann aus Houston besinnt sich auf die bewährten Tugenden des traditionellen Black und Heavy Metal und wählt einen organischen Klangansatz, indem es den siebenfach Grammy-nominierten Produzenten und Tontechniker Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) engagiert, um einen natürlichen Sound zu erzeugen. "Burning Shadows in the Southern Night" wird bei all jenen, die es wagen, dieses bösartige neue Werk zu hören, mit Sicherheit ein Gefühl der Nostalgie hervorrufen.

FFV: Immortal, Rotting Christ, Blackbraid, Uada, Cloak

Tief im glühenden Kessel von Texas haben die Alchemisten von Necrofier (mit Mitgliedern von Night Cobra, Oceans of Slumber, Venomous Maximus, etc.) mit ihrem zweiten Album "Burning Shadows in the Southern Night" eine weitere starke Dosis amerikanischen Black Metals gebraut. Das Vierergespann aus Houston besinnt sich auf die bewährten Tugenden des traditionellen Black und Heavy Metal und wählt einen organischen Klangansatz, indem es den siebenfach Grammy-nominierten Produzenten und Tontechniker Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) engagiert, um einen natürlichen Sound zu erzeugen. "Burning Shadows in the Southern Night" wird bei all jenen, die es wagen, dieses bösartige neue Werk zu hören, mit Sicherheit ein Gefühl der Nostalgie hervorrufen.

FFV: Immortal, Rotting Christ, Blackbraid, Uada, Cloak

More than four years after his previous EP and after having released some remixes and collaborations with Agar Agar, Black Devil Disco Club or the Italian design studio Burro Studio, LeonxLeon comes back with a new EP, passing to the electronic shaker the styles of music listened since the last release.

4 tracks all as different as each other with first Itanewa, where the Parisian producer tries for the first time to give voice, without vocoder, well aware that on a track inspired by South African productions of the 80s, an instrumental version only would not be enough to do justice. It is thus in a kind of invented Esperanto that the lyrics, a call to lightness and simplicity according to the artist, are distilled between synthetic bass, keyboards and other percussions.

On Piano Mondo, we leave rather in the direction of South America with pianos of Bossa inspiration on a bass italo-disco, rises and descents as if we were in Val d'Isere and breaks just long enough to catch its breath.
The idea of Solid Dose is completely different since it was a question of taking the post new-beat dance sound of the beginning of the 90s, with a big blow, hence the title, of the synthetic bass sound "Solid Bass" which will be used in a lot of ways at this period and which is coming back in force nowadays, and to mix it with the Nordic touch of dance music for a soaring, evolving track, with arpegios which cross each other and an acid line which finally makes its appearance here.

The last track is a wink to the well-known movie that gave its name to the whole project: it is indeed Luc Besson's Léon that we are talking about, re-cut on the dialogues of Nathalie Portman and Jean Reno, supported by a simple rhythmic, analogical bass and electronic kick at the service of a dark atmosphere, closing the record at the antipodes of the first track, without ever having left the universe of melodies and percussions that already characterized the previous releases of LeonxLeon.

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

Carla Durisch unveils her debut EP ‘I Just Wanna Dance’ on Crosstown Rebels, with long-standing label favourite and close friend Seth Troxler on remix duties.

An exciting name who looks set for a breakout year in 2023, DJ/producer Carla Durisch is an artist whose passion and deep- rooted understanding of electronic music led to her being marked as a talent to keep an eye on. An integral part of the Swiss electronic and club landscape through residencies at the likes of Nordstern (Basel), plus both Hive and Zukunft (Zurich), her recent explorations within the studio have seen her deep and groove-led style translate into her own productions. These explorations are on display for the very first time as she debuts on Damian Lazarus’ renowned Crosstown Rebels imprint, following appearances at Get Lost in Miami and Watergate Berlin, plus forthcoming Ibiza sets alongside the label boss this summer at Hï.

Led by the captivating words of Nanghiti and Carla’s own vocals ‘I Just Wanna Dance’ is a warping and colourful ride through rich synths, refined drums and bright stabs as it builds and descends across an engrossing near-seven-minute journey. Next, ‘Be The Thing is a stripped-back, hypnotic house effort as snaking percussion merges with sharp lead melodies and further vocal interjections.

Needing little introduction, Seth Troxler’s remix of the title cut is an example of the American at his best, fusing bubbling acid-dipped bass patterns with skittering percussion and surging synth lines for a trippy, late-night take. To close, ‘4AM’ picks up those early hours sonics as crisp claps, echoed vox snippets and dubby grooves take a hold.

Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

The debut album from London's finest, Hak Baker - 'Worlds End FM' represents the war in Hak's mind, the culture war on the streets of London and the individual battles of his community - from his mother to his brother to his best friends. In a year that will see Hak perform alongside Pete Doherty at The Royal Albert Hall, Jamie T at Finsbury Park & his own headline UK & Germany tours, the campaign has already garnered support from Rolling Stone, NME, Clara Amfo, Steve Lamacq, Jamz Supernova & partnerships with Dr Martens, Fred Perry, Fender, FIFA & Hugo Boss to name a few. Previous highlights include performing on Later with Jools, Glastonbury 2022 (Other Stage), the first artist ever to play at the BBC's new Eastbank site, selling out two Village Underground shows & been championed by the likes of Clara Amfo, Jack Saunders, Sian Eleri, Tom Ravenscroft, Jo Whiley, Huw Stephens & Charlie Sloth.

Official reissue of the German psychobilly legend Mad Sin’s 2010 album Burn And Rise. Since their indestructible bandleader Köfte DeVille had gone through some major personal changes, which encouraged him to lose almost 40 kilo grams, the album title is more than adequate. 18 tracks titled like “Last Gang Standing”, “Geisterfahrer (Ghost rider)”, "Wreckhouse Stomp", "The March of the Deviants", "9 Lives" or "Shitlist Bop” promise tension and also a bunch of surprises. The typical Mad Sin mix of psychobilly, rockabilly, 50’s Rock’n’Roll, Country, Punk and Surf sounds fresher than ever before. Featured artists include Sucker (Oxymoron, Bad Co.), Jack Letten (Smoke Blow), Hank (The Boss Hoss) and Marlen (Bonzai Kitten). An outstanding record which gave the band once more the chance to show that they think outside the box and can do a lot more than “just” rockabilly.

Official reissue of the German psychobilly legend Mad Sin’s 2010 album Burn And Rise. Since their indestructible bandleader Köfte DeVille had gone through some major personal changes, which encouraged him to lose almost 40 kilo grams, the album title is more than adequate. 18 tracks titled like “Last Gang Standing”, “Geisterfahrer (Ghost rider)”, "Wreckhouse Stomp", "The March of the Deviants", "9 Lives" or "Shitlist Bop” promise tension and also a bunch of surprises. The typical Mad Sin mix of psychobilly, rockabilly, 50’s Rock’n’Roll, Country, Punk and Surf sounds fresher than ever before. Featured artists include Sucker (Oxymoron, Bad Co.), Jack Letten (Smoke Blow), Hank (The Boss Hoss) and Marlen (Bonzai Kitten). An outstanding record which gave the band once more the chance to show that they think outside the box and can do a lot more than “just” rockabilly.

Die Power Metal-Titanen GLORYHAMMER sind zurück im Kingdom of Fife!

In dem nicht soweit entfernten Kingdom of Fife, lebt eine ganz besondere Band – GLORYHAMMER.

Sie betten ihre abenteuerlichen Erzählungen von intergalaktischer Kriegsführung und kosmischer Zauberei in epischen Power Metal und seit ihrer Gründung 2010 führen GLORYHAMMER einen nicht enden wollenden Kampf gegen die Mächte von Zargothrax. Vier Jahre sind seit der letzten Veröffentlichung ihres letzten Albums vergangen, aber das Warten hat nun endlich ein Ende, denn ihr neustes Werk Return to the Kingdom of Fife wird am 2. Juni 2023 über Napalm Records veröffentlicht und und liefert die ultimative und spannungsgeladene Reise der furchtlosen Krieger!

Unheilvolle Fanfaren kündigen GLORYHAMMERs erste Schlacht an, bevor sie den mächtigen und majestätischen Holy Flaming Hammer an sich nehmen, um auf „Holy Flaming Hammer of the Unholy Cosmic
Frost” die Geschichte der Rückeroberung des verlorenen Königreichs zu erzählen. Jedoch hat der böse Magier Zargothrax nach dem verheerenden Krieg von Dundee das gesamte Königreich in Schutt und Asche gelegt und das atomare „Imperium Dundaxia” geformt.

GLORYHAMMER entfesseln mit ihrem packenden Power Metal-Sound ihre eigentliche Superkraft und treiben ihn mit dem ereignisreichen Return to the Kingdom of Fife in ganz neue Höhen!

CROSSOVER MODERN SOUL WITH BOSSA NOVA VIBES WITH WILL BEE
DELIVERING VOCALS FULL OF SUNSHINE.

Like the winged half-man/half-bull that dominates its outrageous cover, Cleveland Eaton's Half And Half is a mutant bass-heavy monster that absolutely slays. Incredible jazz-funk from 1973, it's been largely overlooked for decades, and unfairly so. This is just sensational music - a crate digger's delight. It's super funky throughout, with lots of layers, jazz breaks for days, dripping with style and gritty class. This is the first reissue of what has been a hard to find record for many years; it's long overdue. Joyous music for mind, soul and body.

Cleveland Eaton was a revered bassist who played an active role in the backing of Count Basie, the Donald Byrd Quintet, The Ramsey Lewis Trio, Terry Callier and Minnie Riperton; amongst many, many others. Half And Half was the first album released under his own name, initially released as a private press record on his - awkwardly named - Cle An Thair Records. It was then picked up by Gamble & Huff for Gamble Records. Varied, string-adorned and with stupid funky grooves, it's just exceptionally good.

Whilst Half And Half is treasured for its famously brilliant interpretations of gold funk-soul standards, Eaton proves an imaginative composer in his own right. Indeed, the album opens with a striking original; the earthy, laconic jazz-guitar-funk fusion of "Keep It Funky". Cleveland and co. do exactly that. Up next is a properly moving cover of Aretha Franklin's eternal "Day Dreaming". The flute and guitar combo truly achieve celestial greatness here. "Here Comes Funky Lou" rides a bassline from the Gods and a driving soul-jazz groove allows the track to go off in all sorts of directions. Serene guitar soul of the breezy variety one moment, crazy hectic violin-driven wig outs the next, courtesy of Ed Green who played with Dorothy Ashby and Alice Coltrane.

His blistering two track salvo of Stylistics covers to close out this A-Side of A-Sides will leave your jaw dropped, and they're likely the reason you're here for this. And why not? "Betcha By Golly Wow", which uses a bed of acidy synths and harmonica to create a unique atmosphere, is on some next level business. Melancholic, wistful, beautiful. "People Make the World Go Round" is so good, dripping in wonderful horns and ace percussive breaks, it could even be regarded as the definitive version. Seriously!

Opening Side B, War's gigantic "Slipping Into Darkness" is tightly tailored to Eaton's funky flute fusion arrangement whilst the insistent "Missing You" is a swaggering horn-heavy version of Luther Ingram's track from the Dilla/Ghostface-linked LP, I've Been Here All The Time. The creeping, screeching guitar-drenched original "John's Groove" features more fantastic horn lines and neck-snapping percussion whilst "The Love Gangster", written by Bill Wyman and Stephen Stills for his seminal Manassas LP, contains a heavy break with slick drums high in the mix and fuzzy guitars.

The album closes with two more Eaton originals. Written with Johnny Guitar Watson, "Lie" is one hell of a funky string and guitar-driven gem whilst the wild, celebratory "Ah Movin' On" cleverly quotes "Wade In The Water" (which he'd recorded with Ramsey Lewis in 1966) folding it into his new free-jazz composition. A message to his old boss, perhaps, as a sign-off?

We've worked on this reissue for 3.5 years, spending the whole time making it sound super sharp and looking as perfect as it possibly can. An absolute must-have for fans of soulful jazz-funk, Half And Half was mastered for vinyl by Simon Francis and cut by Pete Norman at Final Tweak. The bizarre artwork, mutant beast and all, was restored at Be With HQ over many painstaking months! Hopefully, this new edition, a real labour of love, should bring Cleveland Eaton into the homes and record boxes of many more people.

"Sunrise On Slaughter Beach" ist Clutch’s 13. Studioalbum, das im September 2022 veröffentlicht wurde. Es ist eine knallharte Zusammenfassung all dessen, was die Band großartig macht, und ein weiterer großer Sprung nach vorne in Richtung Langlebigkeit der Karriere.

Die hier vorliegende, limitierte Veröffentlichung besteht aus sechs hand gepressten 7" Vinyl jeweils in eigens hergestellten Jacken und hat drei zusätzliche Bonustracks: “Boogeyman Blues”, “Arts & Crafts”, und “Railroad Daisies”. Alle drei Songs wurden während der Aufnahmen von "Sunrise on Slaughter Beach" eingespielt. Ein 8-seitiges Booklet und eine 7" Plattenspieler Matte runden das Paket aus. Das Album wurde im The Magpie Cage Recording Studio, Baltimore, MD, von dem Grammy-nominierten Tom Dalgety (Ghost, Royal Blood, Pixies) produziert und gemischt, mit zusätzlicher Technik von J Robbins (Jawbreaker, Against Me!, The Sword).

Moto Music of Zürich presents the "Martina EP" from the mind of Mallorca's talented artist Barcé.

4 classy selections spanning flavors of Bossa House to Deep House and colorful Techno to ethereal Electro, await in the bliss of this vinyl experience suited for dynamic occasions; includes an edit from Dan Piu and mastering by Marco Pellegrino at Analogcut. Pressed on 180 gram vinyl for premium listening quality.

The Martina EP is dedicated the Barcé's niece and Goddaughter.

Originally released in 1996, Come's third album 'Near Life Experience' was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock'n'roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks 'Prize', 'Strike', 'Hurricane II' stemming from the same era, additional liner notes and photographs. After Come's seminal 1994 release 'Don't Ask Don't Tell', bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA. The title of the album resulted from "a slip of the tongue, as Zedek states, she "was telling someone she had had a 'near life experience,' but meant to say near death experience. Chris [Brokaw] was cracking up at the imagery of that. Thus, the phrase was chosen as the album's title. "Near-Life Experience is heavier, and at the same time prettier, than Come has ever sounded." CMJ New Music Monthly. "Come is a re-energized, even more powerful band than they used to be, and Near Life Experience is their most concise and affecting release yet." All Music. Zedek and Brokaw might have compensated the loss of band members by recruiting new blood but the reward was huge, 'Near Life Experience' is Come's most cinematic, diverse and accessible album.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

Rewind LTD launches the first vinyl release featuring our friend from Paris - Jeff The Fool, in the company of his French friends on remixes Crowd Control, Wilt, Ghetto 25.

Antoine is a lover of smooth deep house melodies and hip hop, as well as seductive French and Russian words cut into his samples.

The original versions begin with a magnificent fusion of jazz, funk and house vibes,having honed his already recognizable style in his studio and using samples in a compartment with analog synthesizers, Antoine declared himself in his native France, and far beyond its borders.

Soul Farmer is a smart, fast and rhythmic track with sample editing and an infectious groove in collaboration with Ghetto 25, next comes an energetic, dynamic remix from Wilt, this is a club house track with a touch of techno and a slight sourness, which will obviously work on the dance floor, the boss of the famous label Happiness Therapy - Crowd Control finishes this journey, this is a subtle but sublime remix, with dreamy pads and a classic bass part, emphasizing the now familiar and memorable melody of the original.

LOCUS returns with its latest VA ‘LOCUS Trax Vol. 3’, welcoming label debuts from Jamahr, Mehlor, Project89, Manuel De Lorenzi and Giacomo Silvestri.

Now established as a standalone label in its own right, FUSE’s sister imprint LOCUS continues to prove itself as a go-to stop for forward-thinking and fresh house music with minimal-leaning influences from both established and emerging talent. Returning with the third instalment of its VA series ‘LOCUS Trax’, April brings five new names to the label as Captea boss Jamahr, Leeds-based DJ/producer Mehlor, and Dutch talent Project89 serve up fresh singles alongside a slick collaboration from Italian pairing Manuel De Lorenzi and Giacomo Silvestri.

Jamahr opens the package with an impactful combination of slick drums, resonant vocals and warped basslines across ‘Night Tales’, while Mehlor’s ‘BSOD’ offers up off-kilter electronics, skippy percussion and woozy low-ends. On the flip, Project89’s ‘What’s Going On’ delivers a peppy groove accented by atmospheric pads and spaced-out aesthetics, before closing via the tight, rolling grooves of Manuel De Lorenzi and Giacomo Silvestri’s ‘Sit Down’ as the two unveil a heads-down, hands-up terrance anthem.

LOCUS Trax Volume 3 drops on 26th May 2023 via digital and physical formats.

Stepback Records next release sees the Moot Tapes and Made Magnetic boss Polytunnel making his debut for the Edinburgh based label.

Polytunnel goes deep into electro made for dance floors.

His style of melodic electro mixed with breakbeat influenced acid has seen his music gain acclaim from the likes of Mixmag, DJ Mag, Inverted Audio, XLR8R and supported by the late great Andrew Weatherall on his much-missed NTS show, Musics Not for Everyone.

Previously released on labels including We’re Going Deep, Seventh Sign Recordings and Childsplay with support from the likes of Truncate, Dan Curtin, Placid, Vladimir Ivkovic, Marvel Dettmann, Ame and more.

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.

The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.

Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro – the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.

Similarly, so do "Country Son" and "Black Comedy." In his original review for jazz authority Down-Beat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Son' recalls a fragment from his 'Summertime' solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight-ahead solo here, the orderly pattern of the past is displaced and fragmented."


Flavoured with humuor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explode with creativity, purpose, and color.

Metal Slug 4 marks the dazzling return of the Peregrine Falcons in this unforgettable new episode of the cult series developed by SNK. In this sequel, the legendary SNK Sound Team continues its work and signs a new explosive soundtrack with rock-orchestral sounds. The complete soundtrack was remastered and is available for the very first time on vinyl format!

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.

Als Gitarrist Charlie Byrd 1961 durch Südamerika tourte, boomte dort gerade die Bossa Nova - ein neuer Stil, der brasilianische Samba-Rhythmen mit den harmonischen Strukturen und dem coolen Sound des West Coast Jazz verschmolz. Kaum wieder zu Hause, spielte Byrd dem Tenorsaxophonisten Stan Getz die Platten vor, die er aus Brasilien mitgebracht hatte. Schon bald danach machten sie die ersten gemeinsamen Sessions, aus denen 1962 der Albumklassiker “Jazz Samba” hervorgehen sollte - das erste Album mit von
Jazzkünstlern gespielten Bossa Novas. Und es sollte die gewaltige Bossa-Nova-Welle auslösen, die schnell um die ganze Welt schwappte.

LTM presents a limited edition clear vinyl edition of Sorry For Laughing, the legendary first album by cult Scottish guitar group Josef K, recorded for Postcard Records but destined to become the great ‘lost album’ of the post-punk era.
This remastered edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band’s very first recording sessions in 1979.
Recorded at Castle Sound Studios (Edinburgh) in November 1980, Sorry For Laughing should have been issued as Postcard 81-1, but was shelved after the band and label boss Alan Horne decided the 12-song set sounded too polished. Perhaps two dozen white-label copies in unmade sleeves exist, and have sold for as much as £1,000 amongst collectors. Josef K issued their second stab at a debut album, The Only Fun In Town, in July 1981 – only to split after completing a promotional tour.
This remastered edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band’s very first recording sessions in 1979.
‘They were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group entirely’ (Paul Morley); ‘In retrospect, their aborted attempt at a debut album feels much superior to what was finally released. The early versions of the songs sound superbly coiled and keen, the sublime poise of Endless Soul their truly timeless blaze of glory’ (Simon Reynolds)

Bonus CD (The TV Art Demos) 1. Chance Meeting (take #1) 2. Terry’s Show Lies 3. No Glory 4. Final Request 5. Art of Things 6. Romance (take #1) 7. Torn Mentor 8. Night Ritual 9. Heads Watch 10.

In einer Ära, die darauf ausgelegt ist, das Individuum niederzuschlagen und zu schwächen, ist "Black Flame Eternal" ein Album, das Stärke, Ermächtigung und totalen Widerstand repräsentiert. Angesichts des zunehmenden Drucks, sich im modernen gesellschaftlichen Tribalismus zu engagieren, beschwört Cloak mit Album Nummer drei eine spirituelle Rebellion, die jenseits von Gut und Böse existiert. Während Cloak gegen gesellschaftliche Konventionen wüten, umarmt das Quartett aus Atlanta die rebellischen und altbewährten Traditionen des Heavy Metal.

Ob sie nun den chaotischen Geist der schwedischen Black-Metal-Vertreter Watain und Dissection beschwören, den tiefen, dunklen und sinnlichen Groove von Danzig heraufbeschwören oder die rohe Geschwindigkeit und raue Energie von Motörhead heraufbeschwören - der Einfluss der Gründerväter des Metal ist tief in der DNA von Cloak verankert. Der Charme von Cloak liegt jedoch nicht nur in der Romantik der Vergangenheit, sondern vielmehr in der Art und Weise, wie jedes dieser Genres die persönliche Identität von Cloak geprägt hat. Und mit "Black Flame Eternal" baut Cloak seinen eigenen, einzigartigen und etablierten Sound weiter aus.

FFV: Watain, Dissection, Behemoth, Rotting Christ

In einer Ära, die darauf ausgelegt ist, das Individuum niederzuschlagen und zu schwächen, ist "Black Flame Eternal" ein Album, das Stärke, Ermächtigung und totalen Widerstand repräsentiert. Angesichts des zunehmenden Drucks, sich im modernen gesellschaftlichen Tribalismus zu engagieren, beschwört Cloak mit Album Nummer drei eine spirituelle Rebellion, die jenseits von Gut und Böse existiert. Während Cloak gegen gesellschaftliche Konventionen wüten, umarmt das Quartett aus Atlanta die rebellischen und altbewährten Traditionen des Heavy Metal.

Ob sie nun den chaotischen Geist der schwedischen Black-Metal-Vertreter Watain und Dissection beschwören, den tiefen, dunklen und sinnlichen Groove von Danzig heraufbeschwören oder die rohe Geschwindigkeit und raue Energie von Motörhead heraufbeschwören - der Einfluss der Gründerväter des Metal ist tief in der DNA von Cloak verankert. Der Charme von Cloak liegt jedoch nicht nur in der Romantik der Vergangenheit, sondern vielmehr in der Art und Weise, wie jedes dieser Genres die persönliche Identität von Cloak geprägt hat. Und mit "Black Flame Eternal" baut Cloak seinen eigenen, einzigartigen und etablierten Sound weiter aus.

FFV: Watain, Dissection, Behemoth, Rotting Christ

"Das neue Album der amerikanischen Thrash Metal Legenden!"

Die amerikanischen Metal-Veteranen Metal Church werden ihr 13. Studioalbum Congregation of Annihilation am 26. Mai 2023 über Reaper Entertainment veröffentlichen.

Das Album wurde von Gründungsgitarrist Kurdt Vanderhoof produziert und markiert die erste Veröffentlichung seit dem tragischen Tod des legendären Frontmanns Mike Howe, der im Juli 2021 verstarb.

Es ist auch das erste Album mit dem neuen Sänger Marc Lopes
(Ross the Boss / Let Us Prey), der im Sommer 2022 an Bord kam.

Congregation of Annihilation ist eine Rückkehr zu den musikalischen Wurzeln der Band, die an die Stimmung des selbstbetitelten ersten Albums und von The Dark anknüpfen.

"Das neue Album der amerikanischen Thrash Metal Legenden!"

Die amerikanischen Metal-Veteranen Metal Church werden ihr 13. Studioalbum Congregation of Annihilation am 26. Mai 2023 über Reaper Entertainment veröffentlichen.

Das Album wurde von Gründungsgitarrist Kurdt Vanderhoof produziert und markiert die erste Veröffentlichung seit dem tragischen Tod des legendären Frontmanns Mike Howe, der im Juli 2021 verstarb.

Es ist auch das erste Album mit dem neuen Sänger Marc Lopes
(Ross the Boss / Let Us Prey), der im Sommer 2022 an Bord kam.

Congregation of Annihilation ist eine Rückkehr zu den musikalischen Wurzeln der Band, die an die Stimmung des selbstbetitelten ersten Albums und von The Dark anknüpfen.

"Das neue Album der amerikanischen Thrash Metal Legenden!"

Die amerikanischen Metal-Veteranen Metal Church werden ihr 13. Studioalbum Congregation of Annihilation am 26. Mai 2023 über Reaper Entertainment veröffentlichen.

Das Album wurde von Gründungsgitarrist Kurdt Vanderhoof produziert und markiert die erste Veröffentlichung seit dem tragischen Tod des legendären Frontmanns Mike Howe, der im Juli 2021 verstarb.

Es ist auch das erste Album mit dem neuen Sänger Marc Lopes
(Ross the Boss / Let Us Prey), der im Sommer 2022 an Bord kam.

Congregation of Annihilation ist eine Rückkehr zu den musikalischen Wurzeln der Band, die an die Stimmung des selbstbetitelten ersten Albums und von The Dark anknüpfen.

We complete 2019 with the "Sky, Horse and Catch EP" by label boss Noema himself.
On his quest to 'Bring the Jams', the world traveling DJ delivers two stunning tunes, streaked with percussion that he recorded on a trip to Sao Paulo.
Last but not least, Noema's EP comes along with a mind-bending remix by our favourite Romanians Khidja.

The title track translates a 90's Detroit House Groove to the present day and adds Cuica, Berimbau and several other Brazilian drums on top. Riding the complex groove, you encounter eccentric synths, mysterious soundscapes and of course the horse, on this 11 minute long hack.
'Minhocao' trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!

Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso Qanon/Saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.

You never have to guess what Tink’s thinking. The Chicago-born songstress and rapper says it all in her music. She spits, speaks, and sings straight from the heart without filter or apology. At the same time, she breaks boundaries, dropping off bars with uncontainable charisma and belting out hooks with show-stopping range. She can be romantic in one crescendo before getting raw in a bout of wild wordplay. This versatility consistently affirms her as a force in her own lane. Following her 2011 debut mixtape Winter’s Diary, she dropped projects at a prolific pace, including Alter Ego, Blunts & Ballads, and Boss Up. 2014 saw Winter’s Diary 2: Forever Yours arrive to widespread critical acclaim, landing on year-end R&B album lists from Billboard and Rolling Stone. It also yielded “Treat Me Like Somebody,” which gathered 64 million Spotify streams and counting. A year later, XXL touted her among its coveted “Freshman Class.” Following a stint in the major label system, she embraced independence again with Winter’s Diary 4 2016, Voicemails [2019], Hopeless Romantic [2020], and A Gift And A Curse [2020]. She collaborated with everyone from Sleigh Bells and Pentatonix to Future, G Herbo, 6lack, and K Camp. During 2021, she served up Heat of the Moment powered by “Rebel” [feat. Jeremih] and “Might Let You” [feat. Davido]. After raking in streams in the hundreds of millions and earning acclaim from Pitchfork, The FADER, HYPEBEAST, and more, she opens up like never before on her 2022 album, Pillow Talk.

"As I write these notes sitting on my balcony in July 2022, it has been more than 9 years since the release of my debut album and more than 11years since it was recorded, the time since has been a personally tumultuous period of twists and turns - retreat, reflection, realization, reassessment, therapy, triumph, trial and error - entangled in a decade-long creative block that had me questioning whether
I would ever be able to compose again and though I felt there was so much I wanted and needed to say, I felt I had lost my voice, or perhaps never had one in the first place. A constant knot had grown tighter and tighter within me over time, but I did not understand what had created it or how it might be undone. In 2018, shaken awake by the collision of two transients, I suddenly saw in a new light old
patterns whose familiar presences I realized I had felt for much of my life, but had until then never seen for what they were. Following a third, I finally found the humility to surrender, and as I began re- examining and confronting myself, I slowly started to discover new answers - and new questions to ask.

Then the Covid-19 pandemic happened, and the world stopped. Like so many of us caught in the new eerie calm, I retreated into inner spaces. I began revisiting sketches of ideas I had accumulated over the years, and finally, very, very slowly, new music started to come. " - Jussi Reijonen.

"Electrifying and deeply resonant, monumental and profoundly personal, Reijonen's five- movement suite is a beautifully crafted, remarkable journey of sound and emotion performed by a knockout nine-piece ensemble." - Monarch

"He's written one hell of a piece." - The Arts Fuse

"On this remarkable and ambitious new recording, Reijonen delivers an epic transcultural suite that feels as deeply personal as it is expansive and farreaching." - All About Jazz "a remarkable sophomore album" -The Boston Globe

"This is an album meticulously pulled together into a dense fabric of diverse musical threads. It merits repeated listening; with each fresh listen, the richness of Reijonen's intercultural vocabulary becomes more apparent." London Jazz News

"Even in our present jazz moment, when the art form is worldwide and vital, albums that come as complete surprises are relatively rare. Three seconds Kolme Toista is a stunner." Jazz Times

"Three seconds Kolme Toista is spellbinding from beginning to end, and full of virtuoso performances." All About Jazz

Formed in the early 1970s, The Residents have now been charting a unique path through the musical landscape for 50 years. In celebration of that remarkable and unlikely anniversary, we present an expanded vinyl reissue of the classic 1978 album ‘Duck Stab/ Buster & Glen’.

Compiling the legendary ‘Duck Stab!’ EP with another side of similarly themed ditties, The Residents’ produced one of their best-loved works during the punk rock explosion of 1978 - the album has remained a cornerstone of their remarkable body of work ever since; and has recently been featured heavily on the band’s ‘Dog Stab!’ tour. This expanded edition includes the ‘Shitty Rock ‘N Roll’ RDX suite (a reworked and remixed suite produced by The Residents using the album’s original multitrack tapes) alongside related bonus tracks, all packaged within the album’s long out of print original sleeve artwork.

Produced with The Cryptic Corporation, remastered by Scott Colburn and complete with insightful new sleevenotes, this set builds upon The Residents’ ongoing pREServed reissue project, which will continue into 2023 and beyond.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

The latest venture in the ToneShift imprint from UK-based label Comma Traxx welcomes emkay and Janthe to the Comma releases catalogue alongside label boss Hannd and frequent releaser Cosmic G. Each track stands out individually but works together seamlessly to create a complete compilation package. Hannd’s ‘Ratio Extract’ acts as the modernized progressive house representative on the VA, merging intricate sound design with developing goa’esque melodies forming a fine line between euphoric uplift and rolling peak time ammo. emkay’s ‘Rays Of The Sublime’ does as the title suggests, sending the listener into an uplifting state of bliss, combining raw break percussion with intricate synth developments - a strong representation of why the talented producer is a name to be reckoned with at the moment. Cosmic G draws on old-school goa trance influences for ‘Life Pride’ fusing tribalistic percussions tastefully immersed with deep and atmospheric sound design. Janthe’s ‘Conversations’ blends dubbed-out house flavours with prog-like rhythms to bring the fantastic finishing piece to the compilation puzzle.

180 Gram Vinyl Following the success of the 2021 reissue of Ambient Warrior’s cult classic Dub Journey's (1995), Isle of Jura is pleased to present their unreleased second album, II. Born from the same oceanside fusion of instrumental dub, reggae, bossa nova and tango music that made Dub Journey's so distinctive and memorable, II is an equally sublime collection of eleven unheard tracks from the brilliant minds of Ronnie Lion and Andrea Terrano.

Evoking the delights of white sands, palm trees and sunsets, all set against clear waters and endless blue skies, Dub Journey’s and II document the golden moment when Ambient Warrior came together during the mid-90s to create some of the most Balearic Dub ever made. “Music is the greatest traveler, isn’t it?” says Ronnie. “It gets to places the actual artists can’t even get to really.”

The son of an orphaned Jamaican jazz trumpet player and professional boxer who enlisted in the military after stowing away on a boat to London, Ronnie grew up between Germany, Singapore and the UK before becoming a working musician in his mid-teens. A bass player by trade, he honed his skills playing in a series of soul, jazz-funk, blues, rock and reggae bands that performed throughout the UK.

By the time Ambient Warrior released Dub Journey’s, Ronnie and his business partner Ras Joseph were running the Lion Inc. recording studio and record label in Brixton, London. Having set up distribution arrangements with Roots Records (UK) and Semaphore (DEU/NL), they recorded and released a series of singles, compilations and solo albums from a who’s who of roots reggae artists, including Twinkle Brothers, Delroy Washington, Michael Prophet, Alton Ellis, Little Roy, and Ronnie’s own band The Amharic. “Lion was a regular port of call for visiting Jamaican artists,” reflects Ronnie. “When you were in London, it was on the route.”

An accomplished guitarist, producer and recording engineer from Trieste, Italy, Andrea grew up listening to Russian folk, Klezmer and the Italian harmony tradition in a Sicilian-Ukrainian family. After completing compulsory Italian military service, he moved to London to continue studying music. One night, he turned up at Lion Inc. and approached them about running audio engineering classes from the studio.

In Andrea, Ronnie found a collaborator who shared his desire to create borderless music that reflected the diversity of their backgrounds. “I wanted to do something that had no boundaries,” Ronnie explains. “If you’re working on a roots album, it has to sound a certain way, but with Ambient, especially in the nineties, it was just a license to let off. You could do whatever you wanted to do.” “It was a melting pot of influences like London itself,” adds Andrea.

Although they wrote most of II at the same time as they were recording Dub Journey’s, it took them several years to finish off the album. “Things never got done quickly,” Ronnie remembers. By the time it was complete, Roots Records had gone out of business, leaving Lion Inc. without UK distribution. Not long after, their Brixton studio flooded, bringing the label to a close.

These days, Andrea continues to work as a session guitarist, recording engineer and producer in London. Over the last two decades, he has collaborated regularly with Basement Jaxx and released several solo albums. Ronnie, on the other hand, lives on a boat equipped with an onboard studio, where he has recorded a series of oceanic dub albums off the British coast. Twenty-eight years after the release of Dub Journey’s, he recently started working on demos for a third Ambient Warrior album he hopes to record with Andrea in the not-so-distant future.

Artwork By Bradley Pinkerton.

Fresh off the release of his own ‘Repertoire’ EP and label showcases in Berlin and Brooklyn, label boss Beartrax now prepares the twelfth Melodize vinyl, this time handing a debut to Manuel Ortúzar aka Aural Trace, who delivers the neon-drenched ’Midnight Thoughts’ EP.

As one half of Random Atlas, the young producer can be found exploring the boundaries of New Wave and Post Punk. Flying solo as Aural Trace however, the Chilean embarks on more synthesized Italo dreams.


The EP kicks off with ‘Soft Lips.’ A non-stop, full-speed drive through the radiant passages of outer space loaded with fast synth arpeggios, epic strings and aggressive linn beats, the track is underpinned by a mean bass line and a glossy layer of refinement that will keep those lips super supple.

“Midnight Thoughts” is characterised by lush retro pads, raw 707 drums, and longing gentle melodies that form to create a romantic midnight Italo delirium, whilst “Resolution” is a romantic ode to an unforgettable time where introspective dx feelings meet tense, detuned synth pads, agitated large gated drums, and a huge, rounded bass.

Completing the package with a wonderfully compelling rework of ’Soft Lips’ is Melodize favorite Chinaski, who ramps up the tempo whilst staying true to the blazing vibe of the original.

Damian Lazarus celebrates 20 Years of his world-renowned Crosstown Rebels imprint with a special album project of unreleased cuts and fresh remixes, featuring material from Black Coffee, Maceo Plex, Art Department, Dennis Cruz and many more.

Undeniably one of the most influential record labels within underground dance music, releasing material from Laurent Garnier, Krust and Mathew Jonson to Rósìn Murphy, Deniz Kurtel, Francesca Lombardo and Jennifer Cardini while playing a pivotal part in the careers of artists like Maceo Plex, Jamie Jones, Art Department and Seth Troxler, Crosstown Rebels stands today as a hub and platform for flourishing projects across the electronic spectrum, including via sub-label Rebellion and across a long list of showcases across the globe. More than just your everyday label, the Crosstown Rebels legacy has grown alongside its founder in equal measure, with head honcho Damian Lazarus continually showcasing, championing and spotlighting artists from across the globe who share his radiant, experimental vision for house music and beyond. Ringing in a major milestone in style, 2023 will see the biggest twelve months to date as Lazarus and Crosstown mark the 20th Anniversary of the label with a series of projects set to be unveiled in the lead-up to summer, with ‘CR20 The Album’ set for release on 12th May 2023.

“20 years ago, I dreamed a dream of creating a family of like-minded, crazy individuals from all corners of the planet - releasing music to the world and making people dance. That dream was Crosstown Rebels, and this year we are 20. Over these years, I have forged beautiful friendships, discovered very talented artists and tried my best to help, advise and support some of the most colourful characters in dance music. Crosstown Rebels is more than a record label, it is family.
So 2023 will mark the label’s 20th Anniversary. This is an opportunity for the Crosstown Rebels family, a global community of artists, DJs and creatives, and the label’s myriad of followers to celebrate this momentous milestone. There will be parties and events around the world. A killer compilation of exclusives and special remixes, a beautiful coffee table book, a short film, and a special launch event are planned to bring together the sights and sounds of the label’s unique and influential history. There’s lots to share, announce and reminisce. 20 years young.” - Damian Lazarus.

Comprised of six stellar, high-profile remixes of releases from the label’s catalogue, alongside two previously unreleased original gems, the eight-track package is a rich and exemplary showcase of the far-reaching corners of the Crosstown Rebels sound and also its globally connected family of artists and close friends.

Opening the package, Lazarus’ own 2020 collaboration ‘Into The Sun’ with regular Crosstown vocalist Jem Cooke is given a cosmic rework by Johannesburg’s Major League DJz, while Jamie Jones’ slick ‘Paradise 2011’ is stripped back and given a new lease of life by the hypnotic and heady sounds of Art Department. Opening the B-Side, Dennis Cruz brings his percussive Latin-infused signature sound palette to Chilean musician and producer Pier Bucci’s ‘Hay Consuelo’, before Audiojack’s ‘Feel Good’, another standout collaboration alongside Cooke, is taken into synth-led territories as Michael Mayer reaches for an evolving bed of captivating tones.

The second half of the project brings more excellently remixed material, both new and old, with GRAMMY-winning DJ/producer Black Coffee turning his hand to the label’s first release of 2023 in Made By Pete and Zoe Kypri’s emotive ‘Horizon Red’, unveiling reworked melodies and sparkling keys as he delivers an interpretation of a track which has featured as a staple in his sets. Next, the project welcomes Adam Ten & Yamagucci’s playful yet off-kilter and wonky ‘The K Dance’ which unveils itself as a production perfect for those late night hours and early afters, before Ellum boss Maceo Plex’s ‘Together (2011 Mix)’ brings another lost production to the mix with a driving and zipping ride through sugary synths and soaring leads. To close, Tibi Dabo turns his attention to Guti & Dubshape’s absorbing ‘Every Cow Has A Bird’, delivering a nimble minimal-led trip through lush pads and crisp percussion to round things out in style.

Alongside the album, the 20 Year celebrations will also welcome a 192-page hardback book, ’20 Years Of Magic, Madness and Music’, with words from renowned journalist and key underground music player Joe Muggs, and a feature-length documentary directed by acclaimed director David Terranova.

Crosstown has become known globally for throwing some of the world’s best parties, from the wondrous cultural journey of Day Zero Tulum to longstanding Music Week marathon Get Lost Miami. This ethos of creating magical dancefloor moments spills into the label’s 20 year celebration with its worldwide Get Lost tour, launched with Get Lost Miami, and followed by Bali, Tokyo, Ibiza, Dubai, Istanbul, Rome, Paris, London, Berlin and more, plus a special to-be-announced London showcase.