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The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

guccihighwaters is the artistic persona of 21 year -old artist/producer Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the Soundcloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice with?in the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me." Some members of that community, like Powfu and nothing,nowhere, feature on the album, adding their voices to Murphy's signature sound. guccihighwaters is a top digital artist in the Indie Pop/Cloud Rap space, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu, top emo-rapper Convolk and popular alt-hip-hop artist nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund.

_asstnt & Roll Dann collaborate to deliver the inaugural release on their Opera 2000 imprint entitled "Back From The Morgue".

Roll Dann has been in contact with music from a very young age and picked up inspiration from the destructive techno sound that invaded Spain between 2005 and 2010. With releases on the likes AINE, PoleGroup, Modularz and Clergy the young producer is quickly leaving his imprint on the techno world which hasn't gone unnoticed seeing him being signed to Slam's Soma imprint in 2019. "Back From The Morgue" sees him team up with _asstnt on their new Madrid based techno project, Opera 2000 for his first full EP following their track together on a compilation celebrating five years of Involve Records. _asstnt's sound comes from the heart of a passionate artist conveying romanticism, truth and dedication within his music and philosophy.

"Back From The Morgue" kicks things off with blistering drums scattered around growling modulations and twisted vocals keeping the atmosphere weird yet wonderful before "The Hill of Hanged" continues with resonating kicks fused with undulating, grime-influenced strings and sinister elements throughout. On the flip, "Coalescence" maintains the effervescent moods through storming grooves, dramatic soundscapes and powerful oscillations while "Dirty Mistress" features heavy, syncopated percussion peppered with distortion and dystopian leaning oscillations to bring this beautifully dramatic EP to a close.
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Krystian Zimerman, Sir Simon Rattle, and Ludwig van Beethoven: three exceptional musicians and five great piano concertos are brought together for a landmark recording. This release is among the biggest highlights to conclude the Beethoven anniversary celebrations. Over 30 years ago, in 1989, Krystian Zimerman and Leonard Bernstein recorded Beethoven’s Piano Concertos Nos. 3, 4 and 5. They were united in their total dedication to music – in mind, heart and soul – resulting in an exceptional recording. Sadly, Bernstein died before the cycle was recorded in completion. Zimerman went on to conduct the remaining Concertos Nos. 1 and 2 from the keyboard in 1991. “The impression Bernstein’s approach to music made on me was very clear,” Zimerman says. “He gave me the courage and confidence to be daring with my interpretations, trying out musical ideas that were completely new.”

Shifted offers the latest distillation of his trademark sound.

Following on from the recent release of “The Dirt On Our Hands” – Guy Brewer’s fourth studio album and the first to arrive on his own Avian imprint, “Constant Blue Light” – another full length, explores new avenues in caustic minimalism.

Eschewing the booming effervescence of his own more plosive dance floor material – Shifted takes a no less nuanced, but decidedly more introspective angle on this new LP. At the centre of Brewer’s practice as an artist, there has always been a sense of dedication to the refinement of a singular idea. In some ways “Constant Blue Light” represents a move closer to the apex of this approach.

Opener “Slowly Counting Backwards” creates the framework for the record – reduced and meditative, owing somewhat to previous work, but still crisper and more precise. “Natural Elevation” riffs on airy patches that hiss and bend while “The Weight of It” transmits an unsettling hysteria with flanging leads and untethered rhythmic components. On the B side, the ominous dirge of “Soft Palate” brings a kind of uncanny energy to proceedings before “Into Your Ocean” utilises exquisite FM tones to create a captivating sonic montage. “Several Instances” hinges on dense low end and scattering white noise, before giving way to the machinations of “Clotting Time”. Closing piece “This I Know” offers a stunning, crystalline finish to the LP – upping the ante in its final minutes before giving way to a hiss of delay trails.

A continued exploration from a focused and diligent artist that provides yet another fully formed and beautifully articulated component to his own discography and that of the Avian label.

Tape

It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities.

This album—coming out on Important Records' cassette imprint, Cassauna—demonstrates both the Toronto-based composer's unique mastery of colour and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter—every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990's. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. A number of her works reside in several of these zones simultaneously, such as Song of Extinction, an ambitious collaboration between herself, filmmaker Marc de Guerre, poet Don McKay, and multiple live ensembles, that was mounted in an abandoned power station for Toronto's Luminato Festival.

This quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favour a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive soundworld that resists classification.

Over more than two decades Rose Bolton has been garnering acclaim and enthusiasm from audiences and major collaborators alike. Last year, her brooding string quartet The Coming Of Sobs was nominated for Classical Composition of the Year at the JUNO Awards, following earlier accolades such as SOCAN Awards for Young Composers, and the Canadian Music Centre's Norman Burgess Fund. Her music has been commissioned by the likes of the CBC, stalwart experimental music festival the Sound Symposium, as well as key interpreters and ensembles such as percussionist David Schotzko, accordionist Joseph Petric the Esprit Orchestra, Continuum, Arraymusic, the Kitchener-Waterloo Symphony, and guitar quartet Instruments of Happiness (led by Tim Brady). Together with Marc de Guerre, she produced an 8-speaker sound and video installation for Toronto's Nuit Blanche Festival. She's also been featured by the likes of revered pianist Eve Egoyan, The Vancouver Symphony, L'ensemble contemporain de Montréal, The Music Gallery, and AKOUSMA, while appearing in concert alongside the likes of Jerusalem in My Heart (Constellation Records), Tanya Tagaq, and Francis Dhomont. Bolton is also a respected film composer, notably contributing music to the highly regarded documentary Anthropocene: The Human Epoch (co-directed by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky).

As a performer, she variously employs electronics, violin, and viola. Parallel to her engagement with exploratory approaches, she's invested in the fiddle traditions of the British Isles, and various Canadian regions. She teaches this repertoire at the Royal Conservatory of Music. Bolton has also performed with Rhys Chatham, Owen Pallett, opened for Charlemagne Palestine, and appears on recordings by the likes of Chatham and Aidan Baker. In 1999 she joined the Canadian Electronic Ensemble, whose fifty-years together make them the world's longest-running live-electronic music group. In February 2020, the CEE held a residency and provided guest lectures at Carnegie Mellon University's music department. Bolton has also led workshops at the Banff Centre, also founded the SOCAN/ Moog Audio-sponsored program EQ: Women in Electronic Music, which worked to foster community and mentorship among (trans/cis) women and non-binary individuals.

Green yellow red splatter vinyl
Into the Future’ is the ninth studio album by the American hardcore punk band Bad Brains, which was originally released on November 20, 2012 on Megaforce Records.
t is a tribute dedication to Adam Yauch of the Beastie Boys, a longtime friend of he band who died of cancer six months before its release, and produced their previous album ‘Build a Nation’
This “Into The Future’ vinyl reissue is on green, yellow and red splatter vinyl in gatefold packaging featuring cover art by Shepard Fairey, a street artist who became widely known with his Barrack Obama “Hope” poster used in his 2008 campaign. His work has been included in many contemporary art museums luding the Victoria and Albert Museum in London.

“The Hunt for the Gingerbread Man 2: Get the Dough” embraces the juxtaposition between a fantastical world made of candy and pastries, and the dark and unforgiving lifestyle of the veteran emcee. Sonically immersive, and nostalgic of an era in hip hop that celebrates pain and hardship through whimsical storytelling, this album reaches deep into the life of the protagonist “Mr. Ginjy Breadman” aka “The Gingerbread Man” - and doesn’t let go until you’ve become fully invested in his tumultuous life journey in the “United Cakes of America.”

Thirteen years after the studio release of “The Hunt for the Gingerbread Man,” this sequel album is a testament to MF Grimm’s vivid imagination and innate ability to create stories that transport you beyond our earthly realm. Anthropomorphic cookies, pastries, and gingerbread men are the primary characters in MF Grimm’s tales of violence, crime, drugs, and love, in the ghetto known as “Candyland.”

Perhaps the most compelling aspect of the twenty-one-track album is its unrelenting dedication to both the authenticity of MF Grimm’s infamous life story, and the innocent and irreverent nature of the characters themselves.

The album is produced, mixed, and mastered by Darko the Super.

Founded in 2010, Hussle’s All Money In made an epochal debut with its very first release, “THE MARATHON,” marking Hussle’s fifth official mixtape and follow-up to his introductory “BULLETS AIN’T GOT NO NAME” trilogy. Named among XXL’s “100 Best Mixtapes of 2010,” the collection was quickly followed by 2011’s “THE MARATHON CONTINUES” and then 2013’s “CRENSHAW.” Along with his work as a lead artist, Hussle has previously collaborated with a veritable who’s who of contemporary hip hop, including Kendrick Lamar, Drake, Rick Ross, YG, Ty Dolla Sign, Meek Mill, DJ Mustard, Young Thug and many more. As if his musical career and role as label boss weren’t enough, Hussle is also successful entrepreneur. In addition to The Marathon Clothing line and store, Hussle also owns a number of successful businesses including The Marathon Agency, SC Commercial Ventures, Proud 2 Pay, and of course, All Money In No Money
Out Records.



[b] 2 Rap Niggas [Explicit]

Hella Love, the Hardly Art debut from Marinero, is an album about closing a chapter. It’s Jess Sylvester’s grand farewell, and love letter to his hometown and the place he grew up, The San Francisco Bay Area, before relocating to Los Angeles after finishing his debut release. Using the moniker Marinero (which means “sailor” in Spanish), Jess Sylvester was drawn to this name as a means to honor his parent’s stories -- his father, a sailor, and mother, a Mexican-American who grew up in San Francisco. This record blends many worlds from beginning to end, and as you go deeper it hits harder. It’s his goodbye to The Bay. Pulling sonic influences from classic Latin American groups and international composers from the 60’s & 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. The album was written, played, and produced by Jess Sylvester with help from Bay Area engineer Jason Kick (Mild High Club’s Skiptracing) at Tunnel Vision and Santo Recording in Oakland, California. On the standout single “Nuestra Victoria,” Sylvester shares “It’s my way of talking about gentrification in SF, or specifically the Mission where my mom and family grew up. The song is about a bakery, or panaderia called La Victoria, and was a place where my mother and tias went growing up, a place I also went to that is no longer there.” It was one of the oldest Mexican-American businesses in SF and I wanted to honor it”. “Through the Fog” highlights Sylvester’s exploration of his influences from the Tropicalia movement, weaving bossa rhythms with lush percussion and orchestration. Using SF’s infamous fog as a metaphor for “tough times”, Sylvester expands that it is a dedication to his friends and family who have helped him get through substance abuse issues, heartbreak, and other painful experiences. “There are a few easter eggs in the lyrics for Bay Area folks or people who have followed my music in the past but it’s mostly about getting through something difficult with the love and support from the homies and fam.” The album’s title track, “Hella Love,” summarizes both of his parent’s stories of how they ended up in the bay. The first verse is about his father’s voyage out west as a sailor during the late ’60s while the second verse follows his mother’s experience moving to The Mission District when she was a young girl.


It’s difficult to classify or generalize about Marinero’s music or identity. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album. More than these generalizations we often make, I’m just a human who can both fear and love, and I’m just hoping to connect with others to share optimism and experience joy and laughter, even if for a moment.” Lean your ear to the ground because Jess Sylvester has been many things and will continue to share his journey. It is clear this gifted creator has more to say.
-Luz Elena Mendoza

Being one of the finest exports Australia has to offer, Jules ‘Inkswel’ Habib has become very well respected the world over for his excellent musical output and undying dedication to his art.

Countless Inkswel recordings, remixes, and collaborations circulate the airwaves and internet as project after project surges through with an unstoppable force. Inkswel is a prolific artist, known for his superb album trio on BBE Records, his relentless cooperative EPs & collaborations on Rush Hour, Boogie Angst, Wolf Music & Oye, and recent output with Pugz Atoms on Jazzanova’s own Sonar Kollketiv imprint. Jules reaches even further as he launches “Inner Tribe”, his own labels boasting artists such as Ahu, Planetself with his amazing wife and vocalist Charli Umami, Kid Sublime, Stan Smith & Colonel Red to name only a few. knowing himself that working with great talent makes great music.

His latest album offering Astral Love on ARCo. is an outstanding 9 song Long-player featuring a plethora of brilliant artist backing up his bouncy-rough-cuts. Naming only a few, you will find maestros such as Dwight Trible, Stan Smith & Andrew Ashong among many others who elevate this album to great heights.

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him - including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006. A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early '70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

The saga of composer Tim Story's 1982 debut is a case study in the shifting sands of the early progressive music industry. Recorded on a Tascam 4-track reel-to-reel in his basement bedroom in Whitehouse, Ohio using a ragtag array of equipment – salvaged vibraphone, pawn shop Les Paul, his mother's spinet piano, a PAiA synth kit assembled by his girlfriend's father, and a Yamaha CS-30 – Story optimistically dubbed six cassettes and sent them around the world. Following a polite rejection from Klaus Schulze, the French avant-garde label Atem (This Heat, Univers Zero, Art Zoyd) reached out with an offer to release Threads via their new instrumental electronic subdivision, Labyrinthes. After several letters confirming terms of the arrangement as well as multiple rounds of test pressings, correspondence suddenly ceased. Some months later the label folded, never having begun. Synchronistically, however, Schulze's copy ended up in the glovebox of an engineer associate, who happened to play it for a couple visiting journalists with contacts at a newish Norwegian imprint, Uniton Records (Popul Vuh, Harold Budd).

Impressed, they connected Story to the label head, but by then he'd already recorded a follow-up, the more neoclassical-leaning In Another Country, which became his inaugural release. Finally, 40 years later, Dais Records is rectifying history's error by properly issuing Threads on vinyl for the first time. It's a beautiful, beguiling work, exploratory but emotive, documenting, as Story puts it, “the path not taken... like the first chapter of a book that was set aside to begin another.” Despite only being in his early twenties at the time of its creation, Threads feels finessed and considered, weaving through a diverse spectrum of moods and minimalist melodies. From sunburst synthesizer devotionals (“Tethered By A Thread”) to shadowy cosmic drift (“Without Waves,” “Iso”) to fragile piano vignettes (“Burst,” “Scene And Artifact”), Story's compositional instincts skew subtle and sophisticated, carving gemstones of fluctuating radiance. He cites his discovery of tape loops as a central tool in the process, allowing him to generate recurring patterns of echoes and texture, decaying in volume and fidelity as desired: “A whole new and inspiring world opened up.” As both time capsule and discographical fountainhead, Threads vividly captures the threshold sensation of early 1980's electronic music: post-kosmische, prenew age, before ambient became codified, just as synthesizers began slipstreaming into the underground. It's an album of beginnings and forking paths, inner space voyaging towards limitless horizons, born of “youthful dedication to something one loves, in a world that feels uncertain.”

· First ever vinyl edition, originally set to be released in 1982 but due to original label's untimely demise, it was never issued until now.

· Collaborative releases with Hans-Joachim Roedelius and Dwight Ashley, with releases on notable labels Uniton, Windham Hill, and Hearts of Space.

· For fans of Harold Budd, Brian Eno, Roedelius, Nils Frahm, Klaus Schulze, Popol Vuh, Vangelis, Jean-Michel Jarre · The song "A Thousand Whispers" has been in regular rotation at Sirius XM.

· Tim Story is a Grammy nominated artist in 1988 for his "Legend of Sleepy Hollow" recording with Glenn Close.

After numerous successes across nearly every notable MC/DJ battle of the late 90's and early 00's, followed by their poignant debut, First Born (2001), and the innovative follow-up, E&A (2004), Eyedea & Abilities expanded upon their reputation for multi-dimensional lyricism and production, establishing the duo as a progressive and integral part of the underground hip-hop sound. In 2009, they re-emerged with rap-punk vocals, gutted guitar riffs, and synthesized drum beats on By The Throat, their final studio release before Eyedea's untimely passing in 2010. Together, the experimental and philosophical rapper Eyedea, synchronizing with the precision and ingenuity of producer/turntablist Abilities, curated a raw form of escapism that still resonates ten years later. While a song like "Spin


Cycle" delicately unravels the barriers of human intimacy, “Smile” immerses us into the horrors of poverty and hardships, and our society's obliviousness to them. In each track, Abilities compliments Eyedea’s fluctuating patterns by maintaining ranges from each

side of the spectrum, ensuring their advanced creation still stands as a testament of their dedication to the craft. Now, the long out-of-print vinyl is being reissued for the 10 year anniversary on a custom formulated watercolor swirl vinyl, wrapped art paper jacket of original watercolor artwork by Michael Gaughan with film lamination finish, full color printed record sleeve, insert with full album lyrics and free download card.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn"s newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his "70s classics. There"s no mistaking the musical mind that created legendary albums like Infant Eyes and Adam"s Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn"s past work but which could only have been made right now.

While on lockdown, Senbeï exchanged a lot with his fans on social networks, offering them a collaborative project. From these discussions a dedicated Facebook group has been created on which his fans proposed ideas, arrangements and instrumental interpretations.

So many possible inspirations that allowed Senbeï to then play the conductor, composing new titles based on these exchanges.

The fans were also invited to propose titles for the album and graphic proposals ... TOITSU - unification in Japanese - as well as the work of Adrien Waterlot (a fan) were chosen by the members, to represent this work common.

SENBEÏ talks about it:

This project was launched during the 2020 lockdown. Like a lot of people, I found myself stuck at home, no more work, no more touring. I wanted to take the opportunity to launch a collaborative project by appealing to my fans via social networks. At first, I just imagined doing a song, picking from their ideas, a sample here, a guitar take there. I didn't think it would take on this magnitude. We quickly reached more than 500 people on a dedicated discussion group. And then it all got wrapped up. 4 months later, Toitsu was complete.

It wasn't just music, but also incredible general goodwill, good mood, lots of support, sharing, dedication and humor. All of that helped me orchestrate this happy mess in record time.

"Toitsu" means "Unification". Without those who participated, this album would not exist.

INDIE EXCLUSIVE, LTD PURPLE VINYL! Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

Born out of a love for extended live performance and late night studio jams, Adam Collins' and Marky Star's much revered Omni A.M. collaboration released their debut LP 'Key' 23 years ago, also launching their label Euphoria Records. A very limited amount of CDs were pressed and sold exclusively at Euphoria events throughout Chicago at the time, and with Omni A.M. and Euphoria's stock rising over the following decades, this timeless classic has become a Holy Grail amongst music heads and collectors alike, as the eye watering discogs prices will attest.

Although heavily influenced by the Chicago house scene and it's luminaries Derrick Carter, Gemini, DJ Heather and Tyree Cooper, the pair embarked on a remarkable mission to record an album that owes much to their love of The Orb and KLF, the experimentalism of Psychic TV and Cabaret Voltaire, industrial favourites Skinny Puppy and the mind bending dub of Lee Scratch Perry, through to San Fran's West Coast house scene and the Tech-House sounds emanating from South London in the late '90s.

LP opener 'space horse' rolls out the breaks before swathes of synths and sonic trickery abound, 'wo ist meine bier?' is characterised by haunting IDM-esque melodies, underpinned by the chug of a 4/4 beat. Over onto the flip where Villalobos favourite 'naked groove' unleashes an infectious rhythm, bass riff, synths and vocal, before 'splendid idea' moves into a more tripped out acidic territory, keeping the musical elements and energy to the fore. On disc 2, the aptly titled 'fusion' turns up the breakbeat heat, adds a hypnotic dub-funk b-line, building into an inspirational lead line. 'v.23's other-worldly throb neatly segues into the moody burning breaks of 'bitch', and closing track 'ready to know' is playful and confident in it's execution, without ever losing any depth or substance.

What comes across is an unwavering dedication to creativity and pushing the boundaries of what's sonically possible, whilst defying the genres through a unique and essential collection of musical moments and psychedelic jams underpinned by beats that deliver the funk. These tracks have stood the test of time and have remained exciting and relevant throughout, this is the first time they have ever been released on vinyl.

This double LP features exclusive edits and never heard before versions, lovingly remastered by Lawrie Curve Pusher from the original DATs and artwork recreated from, and inspired by the original release.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

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

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

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

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

LINER NOTES BY JOHN-PAUL SHIVER:

Reinier Thijs a.k.a. Thijsenterprise's new project Lahringen begins where most of his previous creations have left off. Through reedy skronking sax, no easy listening aesthetics here, we get that passport to the '80s. The intersection between Lou Reed's old New York attitude and the encroaching rhythmic assault about to hit. Post-punk, featuring steady bass lines—peak demon Jaco to cool as fuck Slits era—in transit.

The first track in, bumping new-wave-jazz bravado, immediately covers those grounds the Dutch native likes to dig in on. He pays tribute to Gato Barbieri with "El Arriero", continuing in that off-kilter mash-up of sound textures. This time its beats and machismo.

But "Sketchy", an original arrangement, taps Reinier's dedication to skateboarding. Named for when skate rats land a trick sloppy, non-smooth, or ugly he does in fact match the sound of the bass with the feeling of ‘meh.’ “The drums and percussion in the track carry a driving pulse, and the saxophone plays a light melody, ping-ponging between the groove of the rhythm section, making the track very repetitive, catchy," stated Reinier.

Celebrating 25 years as a recording artist and 15 years of his label Lazy Days Recordings, Fred Everything teams up with House Legend Robert Owens on ‘I’ll Take You In’. The track was recorded late last year when Robert was invited to perform with Fred in Montreal during a special event by Phil Collins (the artist not the singer!). The event was related to the art installation Bring Down The Walls, which examined racial injustice and the prison industrial complex in the US and Canada, through the unconventional lens of house music.

Robert Owens needs no introduction of course, being the voice behind so many House Classics such as ‘I’ll Be Your Friend’, ‘Mystery of Love’ and of course ‘Bring Down The Walls’. The song was written the night before the studio session after meeting with Fred for the first time.

‘When I meet you, If I meet you, I’ll take you in. You become. Family’

It all came together naturally and has all the elements of a modern House Classic. Bouncy beats, rich chords and a driven bassline but most important : a song with a positive message and purpose deeply rooted in the tradition of this music we call House. On top of the Classic mix, there are 2 BTDW (Bring Down The Walls) versions, more stripped down, inspired by the event that made it possible.

The choice of Remixer was easy, calling on one of his best friend and longest collaborator Martin ‘Atjazz’ Iveson who also collaborated with Robert in the past. Off the heels of his recent #1 remix of St-Germain ‘Rose Rouge’, he brought is A-Game incorporating a latin vibe with a quirk, thanks to his modulars and Moogs rig. Atjazz can do no wrong when it’s time to rework a nice song. A true master with a unique vision and dedication to sound.

The 20th anniversary year of Dial Records couldn’t have been more exciting for us so far! After the extraordinary well-received release of Soela’s debut-album Genuine Silk and steady excitement around our ongoing series of digital anniversary compilations, we are more than thrilled to announce the second album release of this our very special year: XDB - Inspiron. As a longtime companion and true inspiration throughout the label’s twenty-year history, Kosta Athanassiadis aka XDB enriched our lives with his brilliant productions in the form of countless 12”s and legendary remixes. His long-overdue full-length debut album Inspiron in hand, we find ourselves unpacking the most beautiful jubilee present we could have ever imagined. For almost three decades now Kosta Athanassiadis aka XDB has been involved in the constantly changing world of dance music. His curiosity and dedication to electronic music spiral deep into the depth of House Music and Techno and where ever he appears he generously shares his unique knowledge in this field with equally dedicated crowds. Whether you follow his bloggish “Tracks I do really LOVE”, a collection of club essentials and a library of taste, or you witness one of his remarkable DJ sets from Panorama Bar to Freerotation Festival - XDB will elevate you to one of those unforgettably magical music moments. In 1993 Kosta Athanassiadis started his DJ career in the medieval hometown of Goettingen. To find what he was really looking for, namely, the newest and most exciting new records he frequently had to leave this picturesque city, that is most popular for inventing the traditional Baumkuchen pastry, but has not been on the maps of music connoisseurs necessarily. Frequent trips to visit records stores and clubs around Germany built a network of likely minded people. Some of his favorite and most thought after record labels of the time like the Chicago imprint Relief, or UK's Mosaic, are still fundamental to his very specific musical taste. By the turn of the century, XDB hosted a series of nights at Goettingen's Eletroosho, where he invited Dial’s own Lawrence and Carsten Jost in 2002- the beginning of a still ongoing friendship. He had established himself as a sought after and internationally active DJ and started his fist endeavors into music production as well. Later on XDB founded his own Label Metrolux and released on iconic labels like Sistrum and Wave to be followed by countless remixes for legends like Aaron Carl, Norm Talley and Patrice Scott. An extraordinary stream of gravity connects both, his productions and DJ sets. Once breaking through a seemingly transparent surface, one get’s lost in the beauty and depth of forms and figures. There’s barely DJs and producers who keep searching for this hidden formula in such a microscopically detailed way to pass a lifetime in House Music and Techno on to the world. XDB's Inspiron embraces this unique approach, filters and develops inspirations in an entirely delicate way, and magically emphasizes the desires of the most dedicated listeners and dancers.

Soulful selector and skateboarder extraordinaire Hugh Hardie is back with his latest EP, ‘Learning To Fly’, consisting of four sublime cuts, hot on the heels of his recent‘7 Tunes In 7 Days’ lockdown project. Produced from his home studio in Bristol, Hugh’s new release features collaborations with DJ Marky and singer/songwriter Cimone.

Named after the Indian mountain city in West Bengal, opening track ‘Darjeeling’ is a faultless embodiment of Hugh’s trademark jazz-inspired groove. Filled with transcendent piano chord progressions, rolling breaks and an enchanting upright bassline, ‘Darjeeling’ is a classic example of the soulful liquid beats the Bristol-based DJ has become known for.

‘Said & Done’ sees the commanding vocal talents of Cimone take the lead as Hugh Hardie and DJ Marky team up on the buttons to create a smile-inducing bouncer drenched in feel-good summer vibrations. Infectious descending bass wobbles lay the foundations below swinging piano licks and sharp-edged, shuffling percussions. With DJ Marky being an avid supporter of Hugh and Cimone’s initial link up on ‘Raindrops’, it only made sense for the trio to jump on a track together.

‘Learning To Fly’ with graceful strings and arpeggiated plucks, leads seamlessly into a crisp drum track and driving bassline. Hugh’s delicate yet powerful and uplifting pieces of music explore a broad range of emotions, taking the listener on a stimulating musical journey.

Drawing for original jungle sounds whilst staying true to his soul-heavy style, ‘Late Night Harp’ does exactly what it says on the tin as captivating harp melodies and acoustic guitar riffs are infused with fizzing sub-heavy basslines and steamrolling breakbeats generating a no-holds-barred banger.

His ‘Learning To Fly’ EP is the second project to emerge from Hugh Hardie in the 2020 lockdown. His previous ‘7 Tunes In 7 Days’ extended EP saw him create a track from scratch every day over the course of a week, and received support from DJs across the board including the legendary LTJ Bukem. With the success of both his ‘Shadows & Silhouettes’ and ‘Colourspace’ LPs under his belt, Hugh’s dedication to ensuring that soul remains the main ingredient in his productions is cementing him as a staple figure in the world of liquid drum & bass.

Timeless periods of industrial rhythm: Diarmaid O Meara and Kucera collaborate to release ‘Shadowmen’ vinyl on Gobsmacked Records

Nightclubs around Europe are shut. Even in Berlin, the clubbing capital of the world, nightlife has been reduced to a simmer. “But that doesn’t mean we can’t have a good time and connect via timeless periods of electrifying and industrial rhythms”, said Irish producer and DJ Diarmaid O Meara. Together with long-time Gobsmacked techno stalwart Kucera, the two have dropped their latest vinyl ‘Shadowmen’.

The collaboration has derived from long sessions in the Gobsmacked cavern studios in Berlin. The result: A 12” that is laid out in the style of the perfect rave – with a breakbeat electronica entry that promotes procrastination, freakish, and intensely introverted thoughts created through pulsating rhythms and ghostly frequencies, industrial rave sounds for those moments of release.

Partying is a huge part of Berlin’s identity

By listening to the vinyl featuring a dark rhythm, it becomes obvious that the duo has been heavily influenced by underground techno nights in Berlin, and also regularly sharing the stage together at international events. With the pandemic-mandated closure of clubs stretching through the summer, however, playing gigs and festivals is no longer an option. Hence, illegal parties have sprung up to fill the gap and infuriated some public health officials and politicians, also in Berlin.

“Partying is still a huge part of the city’s identity”, continued Diarmaid O Meara who has been living in Berlin for over a decade and also organising parties all over the city. “Raves are a much-needed way to blow off steam after a period of isolation but we have to consider a more proactive approach, for instance district authorities making public spaces available to party organisers under conditions that ensure hygiene measures are maintained.”

Although there has been no shortage of digital music events either since the pandemic began, clubbing is more than just watching a DJ set. “Rather it’s about the unique space that’s created by artists and the crowd that are pulled together by music”, said Kucera who has been destroying dance floors across Europe with his live sets since 2004. “In times when people are still feeling more isolated than ever, our latest vinyl with the accompanying music video aims to bring a sense of connectedness and community during the lockdown.” The video imagery has been recorded live using Kuceras machine pattern triggering whilst performing the tracks live.

Unwavering dedication to the culture of counter-culture

The name ‘Shadowmen’ reflects the work both artists have contributed constantly and consistently to the scene over the past two decades with unwavering dedication to the culture of counter-culture. The artwork, in classic Gobsmacked style, comes with a tip of the cap to the global elite who have been successfully driving humanity off a cliff. “We’ve thrown a little apparent illuminati symbol in there for those who’ve been confined too long at home and on YouTube for the past 6 months”, said Diarmaid O Meara.

Both artists are working on a multitude of new tracks and events for the post-Covid era. Of particular interest is Kuceras live visual show for Gobsmacked, with visuals triggered from his machine live-set patterns. This is something he has been wanting to experiment with for a long time now and it started to take shape in the form of visual hallucinations of industrial areas and trains he had been filming while traveling across Europe before the world stopped functioning properly due to Covid-19. Diarmaid O Meara has quite a few tricks up his sleeve, including a new politically inspired alias, where both artists will take centre stage in some wacky antics.

We're glad to be back with our latest reissue, a couple undercover soul gems from the Midwest originally self-released in 1984: LaVerne Washington's "The Promise" and "I Found What I've Been Searching For".

LaVerne has dedicated her life to the arts in every possible way. As an artist herself but also behind the scenes, helping and supporting her contemporaries fulfil their callings. Charlie Parker, Count Basie, Ella Fitzgerald, Mary Lou Williams - LaVerne grew up in Kansas City listening to the all time jazz greats, and soon discovered she was blessed with a keen sense for playing music by ear, playing the piano to what she would hear on the radio. In her teens whilst the 60s transitioned to the 70s' disco and funk era, LaVerne was there to witness it all, and she would go on to study music at the Charlie Parker Academy where she was inspired to become an entertainer.

At Langston University, LaVerne kept studying music where her career blossomed, founding and touring the US with the gospel group "Emery Shaw and the Voices of Praise", singing in several college bands and with her choir "The Voices Of Bethel". LaVerne would go on to perform notably with her bands "LaVerne Washington and Rococo" and the "LaVerne Washington Quartet", and record several songs in KC including "The Promise" and "I Found What I've Been Searching For" in 1984 before moving to Washington DC.

In DC, LaVerne was offered a position as a Program specialist with the National Endowment For The Arts where she started supporting other artists through her work. Over the next couple decades, LaVerne became an associate producer for the Rhythm and Blues Foundation and the Pioneer Awards Ceremonies held in New York, Philadelphia and Los Angeles, which saw the likes of Prince, Aretha Franklin and Jerry Butler attending among others. She has also managed and was mentored by DeeDee Sharp and consulted with artists including Bonnie Raitt (who acted as a mentor to Laverne as well), Kim Weston, Kathy Sledge (SisterSledge), Smokey Robinson and G.C Cameron (Spinners). During that time, LaVerne has kept singing, on her own and as a backing vocalist for DeeDee Sharp and Freda Payne and has never stopped her lifelong dedication to music and the Arts.

The Promise original 7" was LaVerne's last recording in Kansas City before her move to DC and the beginning of her involvement behind the scenes. Channelling her gospel roots - with impeccable arrangement, a contagious drum machine led rhythm section, soaring vocals and relatable lyrics, "The Promise" is guaranteed to bring back smiles to dancefloors and living rooms alike! "I Found What I've Been Searching For" on the flip is a beautiful soul ballad which really showcases the strength and emotion in LaVerne's voice.

Back again in it's original 7" format, we've had the audio transferred and restored from the original 24 track tape provided by LaVerne, and got the recordings re-mixed for the best possible sound! Floating Points behind the mixing desk for this new iteration of a lost classic, comes with a 14"x14" poster of the original picture

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

Mirae Arts is an independent vinyl label based in northern California with focus on experimental ambient and techno music. Inspired by travel and natural landscapes, Mirae Arts boasts a diverse catalogue of projects from artists such as Seraphim Rytm, Michiru Aoyama, and Katsunori Sawa.

Katsunori Sawa & Anthone (aka Martsman) are Bokeh, the dynamic duo behind some of the most notable releases on Berlin’s Weevil Neighbourhood. Bokeh blends together the distinctive styles of Katsunori Sawa & Anthone, who have releases on labels such as Opal Tapes, SNTS, Hidden Hawaii, and many more under their belts. This year, Bokeh has already released a 12” EP for UVB-76 and Mirae Arts is proud to announce the follow up debut LP release called Lenses Dances.

Lenses Dances comprises 8 tracks that reflect on the photograph effect called bokeh, where aperture settings of the respective camera lens create vivid patterns, almost like dancing dots. It is a dedication to the artists’ love for photography. The music is complemented by Paul Nicholson’s signature graphic designs.

Artwork design by Paul Nicholson, UK graphic designer who created the famous Aphex Twin logo and The Laughing Man logo for the cult-classic anime, Ghost in the Shell: Stand Alone Complex. Paul has since designed logos and artworks for numerous artists and organizations.

Mastering and lacquer completed by Kassian Troyer at the legendary Dubplates & Mastering.

Repress

Embracing the underground culture with open arms when it matters most, the Dutchman arrives with his 'Goddess Of Vice EP'. Drifting through hardcore, tribal and acid, he aims to create a nostalgic getaway.

In 2015 US soul, boogie and disco legend Jay W. McGee teamed up with Hamburg producer, multi-talented musician and DJ Julian "Mzuzu" Romeike to record McGee's comeback album "Good Feeling". Even though both artists are from two totally different generations, they got on so well with each other after the official re-release of Jay W. McGee's classic 12inch "Turn Me On" on Légère Recordings two years before that they started to write and record together. After all, it was Julian "Mzuzu" Romeike himself who made Jay W. McGee return to the music business after nearly 15 years of silence.

The creative process did not stop with "Good Feeling": "We now have a brilliant combination of fresh songs. Many different accurate beats and of course Jay's incredible writing and singing skills," says Romeike. "I feel that it's a great combination of dedication, skills and talent which made this album possible. I work on some grooves and hooks for Jay, he picks the ones he likes and returns a proper song with vocals and arrangement. My production team, The Unbelievable Two, then work on the final mix."

"Smooth Crusing" hints towards McGee's classic late seventies sought after sounds like "When We Party" with the first "Uptwon, Downtown". The album also includes some reggae touches and smooth soul excursions. "It is such a big pleasure to work with these guys as everything works perfectly together," comments a happy Jay W. McGee. "It has all the ingredients for a classic album. It's funky and soulful, recorded in a unique modern style. We have a tribute to the good old funky music with 'Old School Love'. A lover's rock orientated tune with 'Chance I Have To Take' and some kind of up to date Afro-Disco-Soul with 'Bounce Back To Me'. And of course, 'Smooth Cruising' is full of funk!"

The label is delighted to welcome Kris Baha with his first 12" for Especial. After killer remixes of Sfire and Red Axes for the label, his name as an artist, with his darker take on dance music, has risen and risen.

With releases on Bahnsteig 23, CockTail d'Amore and Pinkman, Baha has become a respected artist in just a few years. Building analogue equipped studios in Melbourne and Berlin, DJing, producing and mixing have all led to atonal ear, where success came through dedication.

Following his debut album Palais, Barely Alive acts as release from these years of sweat. A call to all in this modern world, the song exemplifies a move from club music to a freedom in sound and song, as vox crash against 808 and Arp 2600. Remixes start with Timothy J Fairplay a name synonymous with Especial. Here TJF laces his trademark echoplexxed wash for a cold wave mover. Next prodigy Job Sifre builds on his acclaimed debuts with a remodel that goes straight to 'that' basement, mixing his love of electro, new wave and industrial. To close, the legend of Das Ding creates a re-alternate remix, fusing his unique fuzz with Baha's ode for a brittle finale.

Available on vinyl for the first time since its original release in 1984, Outernational Sounds proudly presents Build An Ark pianist Nate Morgan’s second outing for the celebrated Nimbus West label – the conscious and spiritualised sounds of Retribution, Reparation.

Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia (Outernational Sounds OTR- 008), had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the soundworld of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 4 is: Lean Back Remix (Inst) B/W Sunny Dedications (Inst). Unreleased instrumental version of “Lean Back” remix, taken from “Put A Beat To Rhime”, 2004. Unreleased Instrumental version of “Sunny Dedications”, taken from “It’s All Happening Now”, 2002. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. “Sunny Dedications” featured in instrumental form for the first time ever; is a classic beat taken from Parker’s seminal “It’s All Happening Now” album released in 2002 on Massive Attack’s Virgin imprint, Melankolic. The lush strings and hard drums still strike a chord over 15 years later. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

- non-gatefold sleeve without 7"

Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across thirteen tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

There are irresistible calls to the dancefloor: 2000 Black’s UK boogie and the syncopated rhythms of WaH-chU-kU nod to the West London sound, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow, the ambient spiritual jazz of bandleader Carlos Niño & Friends, and the lament for the Amazon rainforest by Azymuth’s drummer Ivan Conti can channel the overall spirit of group interplay and solidarity. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

"This is the compilation of the year!" - DJ Spinna

Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.

Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

Mothball Record in association with Bordello A Parigi is proud to present one of the strangest and most mysterious recordings from the whole Italo-Disco era. Sitting somewhere between goth, italo and new wave, “Space Melody” is a dedication to ancient Egypt and outer space.
The original EP was almost totally lost to the sands of time, until recently the original mastertape was unearthed by the artist and later painstakingly transferred by Rude 66.

The record is completed by new instrumental versions from the Danish Italo king Flemming Dalum and the Spanish italo duo Futuro.