Cerca:disco d

Sourcing rare records to reissue can involve meticulous research and years of digging, but then occasionally, Lady Luck smiles upon you. We probably would have never heard of the Medium Wave Band if Gary from Mr Bongo hadn't known Wolverhampton-based record dealer, Steve Ward. Whilst offering Gary some records for sale, he remembered he had a spare copy of an old 7" single that he thought Gary might like. Steve didn't know much about the release, and it had never sold on Discogs. Looking at the record itself, it was minimalist in appearance and information, there wasn't much to go on other than that it was from the Birmingham area. The mystery drew us in…

The A-side, 'So Tender’, is a late-night, jazzy slow-jam, with beautifully sultry, soulful female vocals which sounded vaguely familiar. On listening to the B side, 'Games (Instrumental)’, you are rewarded with a superb example of Britfunk / independent UK jazz-funk. The pulsating, bass-led dancefloor groove and sensibility is a sound reminiscent of productions usually found on labels such as Elite, but the 7” was not released on a label, it was a private press by the band themselves. So who are the enigmatic The Medium Wave Band?

After some fruitful internet digging and correspondence, we got the answers. The band lineup featured Elliot Browne on guitar (lead & rhythm), Ron Lyseight on guitar (rhythm), Andrew Proverbs on keyboards, Tony Peart on drums, Paul Snook on bass, Linton Levy on saxophone, and surprisingly, the beautiful vocals we had been enjoying were those of Jackie Graham, aka the hugely successful UK vocalist, Jaki Graham. Maybe best known for her pop hit with David Grant, 'Could It Be I'm Falling In Love', but also featuring on the cult classic track 'Fire In My Heart' by Escape From New York.

Influenced by artists and bands including George Benson, Ronnie Laws, Weather Report, George Duke, Azimuth and Chick Corea to name a few, the guys booked into a studio near the Botanical Gardens in Birmingham and recorded the two tracks that make up this 7”. Only 200 copies of the original 7" were ever pressed and were sold mostly in Birmingham at Summit Records by the band’s friend DJ Frenchi, as well as at live shows. Despite its limited distribution channels, the record received solid support from fans and those in the music industry, including Morgan Khan of the influential record label, Street Sounds. DJ and journalist, Lindsay Wesker, reviewed the release and this led to the band travelling to London for several radio interviews. They played live shows across the country, including at the prestigious Ronnie Scott's in London, and supported both Shakatak and Weapon of Peace in Birmingham.

Thanks to all those involved bringing this release into fruition and for solving the mystery behind a wonderful Britfunk and UK soul record that could have otherwise been lost in the mists of time.

INTEGRAL RECORDS—SEVENTEEN YEARS OF FORWARD THINKING D&B

London, August 2024 ––Integral Records, a leading independent record label synonymous with forward
thinking Drum & Bass music is announcing ‘Seventeen’ ––a new Various Artists LP in celebration of 17 years.

Fast approaching their second decade in the business of DNB, Integral Records has left an indelible mark on the underground scene, consistently delivering quality releases that continually push the boundaries of drum and bass music.

Since its inception in 2007, the label has been at the forefront of innovation within the underground scene globally, and is renowned for continually discovering, nurturing and developing exceptional talent; breaking a number of new artists through its 17-year journey.

Consistently delivering high-quality music with crossover radio appeal and with a consistent release schedule maintaining quality over quantity and dedicated to keeping the vinyl community alive.

Founded by the visionary Artificial Intelligence back in 2007 and with Emma G at the helm over the past decade, the label has remained dedicated to its core values of musical integrity, cutting edge sound

With a back catalogue of who’s who in the soulful world of the spectrum; the archive includes the likes of
Calibre, DRS, Alix Perez and Lenzman; more recently, Dawn Wall, Mohican Sun, Satl and currently the new
wave of D&B’s rising stars––Thread, TZ and Tatora to name a few.

Seventeen – the LP will showcase 8 tracks carefully curated from the label's impressive camp
of talent, capturing the essence of the Integral Records sound––featuring legendary artists and rising stars alike. Track features will include (in alphabetical order) Artificial Intelligence, Lenzman, Phil Tangent, Redeyes, Satl, Steo, Tatora, Thread, and Zero T and more.

From soulful liquid future classics to heavier-hitting tech rollers and everything in between, this compilation encapsulates the diverse and ever-evolving nature of Drum & Bass that will always remain dear and will certainly never die.

Twisted Records is delighted to announce a different kind of collaborative mini album by two musicians highly esteemed for decades in the electronic music scene, Simon Posford and Raja Ram. 

‘Improvisations for Piano & Flute’ is, as the title suggests, a series of fully improvised compositions by the two legendary musicians. The 44-minute flow of this album is more contemplative and analog in nature than anything in the pair’s previous output in their three decades of collaborative work, yet equally mesmerising and consciousness-expanding.
 
In the early 1990s, Simon Posford was working as an engineer at Butterfly Studios when he first met Raja Ram, an Australian conservatory-trained jazz flautist who had been in the 60s/70s band Quintessence and who was at the time of their meeting part of the electronic music group known as The Infinity Project. After collaborating on many of the latter band’s productions, Posford and Raj (as he is affectionately known) in 1996 created the first track under the project name Shpongle, Rumours of Vapours. 
 
Less dance-focused and more atmospheric than their previous electronica tracks, this was the first of many creations under the Shpongle moniker, included on their now iconic first album Are You Shpongled? in 1998. Since then, they have produced six albums and performed elaborate live sets with an 17-member band around the world, including three sold-out shows at the iconic Red Rocks theatre in Colorado and three sold-out appearances at The Roundhouse in London.

This album is a significant departure from their usual output in its focus on the interplay of Raj’s lyrical flute playing and Simon’s noodling at the piano, with almost imperceptible synthesized atmospheric support that seamlessly unites analog and digital realities. 

These improvisations were recorded in Posford’s living room instead of the usual studio because the musicians found that it provided more of the desired ambience. With a synthesizer placed atop an antique Bluthner piano, either Raj or Simon would begin playing and the other would join in - nothing prepared, decided, or arranged: just live, in-the-moment inspiration. This spontaneity infuses each track with such magnetic energy that the listener is inevitably drawn into each note, phrase, and piece. 
 
The whole album is supremely chill and introspective, with a grand arc to the storyline of 8 tracks that Shpongle fans will recognize from the dynamic duo’s internationally prized discography.  

‘Improvisations for Piano & Flute’ is a salve for the soul, providing an atmospheric antidote to the relentless stress and fast pace of our increasingly complex world - a great way to kick back, tune in, and refresh.

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.

“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.

G.O.D.'S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.

Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.

The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.

For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.

While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.

“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.

G.O.D.'S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.

Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.

The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.

For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.

While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

Out of the murky, mystic world of Komodo Kolektif slides the Gamma Knife.

In the corner of a dank, dark mind, a nebulous notion condenses and solidifies, featureless and blind...and from that Komodo Klay a new kreature is hacked, molded and (mal)formed.

“The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively. The two Disciple of the Drum 'dubs' are essentially rhythm tracks using the rhythm and percussion of Disciple Of The Drone, also from 2019, stripping away the drone, the gamelan melody and finally, even the bass line, which was initially intended to be the fundamental driving force of at least one of these dubs. In the end neither of these two tracks became anything like the idea that I had in mind, but that's how creativity works sometimes. The vocal parts in Cantation Dub were added most recently, just a few months ago. Fire Dub is just an exercise in me trying to rein in some insane delays and barely managing. The Ghost of Water is an anomaly because many of the fundamental parts are taken from the same jam session recorded in 2015 that led to Djakarta 3001 from the first EP. If you listen closely you'll hear Graeme Miller on guitar (back when guitar was still featured in our weekly jam sessions). I discovered this unedited hour-long jam session on an older hard drive in late 2023 and decided to fashion something from it until what became Ghost of Water materialised: the heavily delayed saron instruments, the jaw harp, the percussion and so on. What makes the track an anomaly is that it is in some ways both the oldest and newest piece of the five. The Seventh Element takes one of the seven elements of The Seven Heavenly Elements (in this case the Mopho synth tuned to the Indonesian pelog scale and ran through the Boss DE-200's depth modulator) to which I then added some gong parts and field recordings from Bali.

Once complete, I realised with an album's worth of material sitting there which was more “Komodo Kolektif” than anything I would normally produce solo, there came the problem of trying to work out what to do with this distinctly Komodo-esque, non-Komodo material. I came up with the idea of releasing it under the name Komodo Kuts...but a part of me felt I'd be cashing in on the Komodo name so ditched that part entirely...but the kuts remained, which seemed appropriate when used alongside my Gamma Knife moniker (which has a long story of its own...in a nutshell I had a benign brain tumour which only 1 in 10,000 people get and which is most frequently removed with a gamma knife (radiation). In medical parlance the device used in this treatment is often shortened to GK machine. I had been using the DJ name GK Machine, which came from my signature GK Mackinnon, since 1994, in other words long before this diagnosis. In the end I had brain surgery in Spain without use of gamma radiation...but the synchronicity of the name connection fascinated me nevertheless. Sometimes the world works in mysterious ways).

Lastly, now that I've sent these tracks out into the world, I feel somewhat liberated and can move on from this fairly niche and specific sound. The gamelan instruments have been returned to Gamelan Naga Mas, from who we'd borrowed them, and the masks hung up. This does not mean that Graeme Miller and I won't work together again in future...I'm sure we will...it just means we won't be tied to working within the constraints of gamelan, synths, percussion and dub that we became known for. So stay tuned...surely something lurks around the corner” GKM, November 2024

Written and recorded in a firestorm of creativity during the mastering phase of Lukah's upcoming double LP with Real Bad Man, Permanent Blackface is a monstrous vignette displaying the true power of Lukah's songwriting and the technical brilliance of his team. The album flashes before you like a lightning strike illuminating a barren cityscape.

Introducing himself as Mr. Blackface, Lukah identifies the true artist's responsibility to hold a mirror to the listener in order to confront and disarm taboos. In both content and music, the record balances vulgarity and introspection, the horror of silence, and the comfort of colossal, discordant sound. Over 12 songs the celestial, often blood-soaked color palette of soul and R&B that gave emotional weight to Why Look Up and Raw Extractions has been scraped away like a charred skeleton. With a small cast of voices consisting entirely of Lukah's immediate family, and production duties handled in-house by WALZ, Deener, Hollow Sol, Cities Aviv, SB11, and Lukah himself, the record has the intimacy of a theater production. The only voices present are Lukah, joined by his mother providing scat vocals, and his grandfather discussing the Jungian self-hatred of the colonial project and its terrifying repercussions for contemporary Black Amer-icans, with a fitting invocation of Dr. Frankenstein's monster. The beats here are reminiscent of noir, 78rpm swing and big band, evoking the underlying horror of a pre-Civil Rights movement America, where segregational binaries invert-ed folk tales through the white terror of ghosts, the black "spook", and mythic themes of fate and free will. The whip-lash of shifting perspectives keeps your head on a swivel in way only Lukah's superior pen can elucidate. Will it trigger anger that first voice you hear on Permanent Blackface is Judy Garland singing "Sweet Chariot"? But isn't this just Lukah speaking through her, announcing he's got "The Southin his mouth"? As the internet endlessly debates intention and appropriation in our artistic history, the insignificance of this small sample is put into perspective: another white pebble in a black ocean of Lukah's creation. "If the sun don't shine today / pray the sun come out tomorrow...pray the sun pierce through the sorrow"

The album introduces an unnamed character beset by disposition. As the story's scope increases, the gaze of the mir-ror shifts. How would white society feel if historical roles were reversed? How does a presumed white listener experi-ence the trauma of interacting with police?

`Dope Music On Vinyl’ cue up their next release, pairing up some classic West
Coast hip hop with some even more classic Disco grooves. “Going Out With A
Fifth” is a boom bap rendition of Beethoven’s 5th Symphony with a sprinkling of
boys from the Hill. On the flipside, Dr. Dre’s stepbrother, Warren steps up to knock it
out of the park with some backing from René & Angela

Skeletal Family are: Anneka Latta - Vocals, Stan Greenwood - Guitars, Roger "Trotwood" Nowell - Bass, Ian "Karl Heinz" Taylor - Keyboards / Saxophone, Adrian "Ozzy" Osadzenko - Drums and Percussion. Formed in 1982 with vocalist Anne Marie Hurst, their debut album 'Burning Oil' topped the National UK Indie Charts for three weeks in Autumn 1984 above other contemporary northern bands The Smiths and New Order. The band subsequently recorded seven BBC Radio One sessions for John Peel, Janice Long & Kid Jensen. They Signed to Chrysalis Records in 1986. Their discography includes the studio albums: 'Futile Combat', 'Sakura', 'Songs of Love Hope and Despair', 'Day of All Days'. The current line up came together in 2021, with the introduction of vocalist Anneka Latta with the band performing live at 'Wave Gotik Treffen' in Leipzig and 'Darker Waves Festival' in Huntington Beach, California as well as various dates in the UK and USA. Their latest album 'Light From The Dark' was recorded at Paul Weller's 'Black Barn' Studio and received critical acclaim already earlier this year.

Mount Jacinto is the creative vision of Costa Rican artist Sonya Carmona, formerly a member of Colornoise and Las Robertas. Inspired by the majestic Mount San Jacinto in Palm Springs and the expansive landscapes of Northern California, Sonya sought to embody a sense of freedom and openness in her new musical project.

The band lineup includes Gini Jungi of Annie Taylor on guitar, drummer Adrian Oesch, and a touch of Latin American flair with Peruvian Joel Morales on bass and Mexican Yan-Cey on synthesizer.

In their music, chamber music elements intertwine with gentle bass lines reminiscent of Air’s Moon Safari and melodic compositions rooted in raw alternative rock. Their debut EP, Outward Signs, released in March 2023, explores modern pop-rock psychedelia with a groovy touch of twang.

The album was recorded with JooJoo Ashworth from Froth and mixed by Alex Newport (Bloc Party etc.).
The title track, Silver Lining, is a standout on the album, showcasing the evolution of Mount Jacinto's sound over recent years. Sonya explains:
"This song is my favorite at the moment from the album. I think it kind of represents it well and reflects that there is always a 'Silver Lining' in everything, where something good can come from a difficult or bad situation. It’s very exciting to play it live and marks the evolution of our sound through this last year. It has its own character and creates its own sonic universe. It’s a homage to the synth wave era, a mix between Depeche Mode, Eurythmics, and Lebanon Hanover."

The debut album Silver Lining is more than a collection of songs—it’s a deeply personal journey through love, loss, and self-discovery. Created during a period of transformation in Sonya Carmona's life, it captures raw emotions and the resilience required to find one’s true self. Tracks like Forest delve into the path to self-acceptance and the importance of confronting inner struggles, whileThe Reason explores the inner dialogues we have during pivotal moments. The album blends heartfelt, intimate lyrics with lush, soulful soundscapes.
Musically, Silver Lining combines classic 60s and 70s influences with a modern indie vibe. It reflects the profound changes Carmona has experienced, offering listeners a moving musical journey.

This super rare Gospel-Soul record, originally released on the short-lived US funk/disco label Cheri Records, sees its very first reissue since 1982. Original copies are almost impossible to get a hold of with only a limited number of first edition copies in circulation. Produced by the legendary Julius Brockington, this record comes packed with gritty beats and powerful harmonies. Now pressed on heavyweight colour edition vinyl.

Fred Ventura and Rafał Lachmirowicz, aka Also Playable Mono, have teamed up, All We Need being the pairing’s audio vision of italo disco.

Steady kicks and cascading cowbells pave the way for an infectious synthline before a vocoder-enveloped Ventura smoulders with a burning intensity. Bold chords and pulsating rhythms are at the robotic heart of “System Breakdown On Wikileaks”. Bombastic and brilliant, this electrified disco dreadnaught swings with the power of a wrecking ball; a power that only amplifies the track’s impacting message of our very civilisation’s future. Scaling notes spiral ever higher in the addictive groove of “In The Night”, A.P.Mono’s computerised words adopting the mantle of his machines. Circling samples introduce “The News”. Rhythms are clean and tight, snapping at the tails of soaring synthwork with Ventura’s smoky social commentary, coupled with the silken and sonorous Chelsea Muller, offering something better for us all.

2024 Repress

There isn’t many who would disagree with the underlying sentiment that electronic music makes us feel something extraordinary. Much in the same way, the possibilities for creative discourse and cosmic interactivity are accessible to anyone with an open mind. It’s in this place where these possibilities materialise, and it’s in this space where SYNCROPHONE 39 operates within.

You see, you won’t find cleverly constructed adjectives or nonsensical descriptors for the music presented here. It doesn’t need them. The music speaks for itself, much in the same way the artists do. Stojche has been carving out timeless techno for two decades now, working tirelessly without fanfare to enrich a scene that sits close to his heart. Whether that be through releases on his own imprint TANGIBLE ASSETS or the ever expanding a.r.t.less, his trademark sound signature is synonymous with the soul of Detroit. You may be hard pressed to find anyone else who’s been as consistent with this sound over the years as he has. On the other hand, Gerard Hanson aka Convextion has been doing exactly that without fault his entire career. So the combination of these two artists on this release makes perfect sense.

Syncro39 is a celebration of core values in music. Of devotion to a singular obsession crafted over the course of decades devoid of trends or cheap influences, social or otherwise. It’s that unwillingness to compromise and to put everything on the line in the pursuit of the dreaming process that makes this a special release.

One thing is for certain. Those who are inspired by Stojche’s signature original and the timeless journey of Convextion’s remix,
will carry themselves through the smoke and haze into the sunlight as it takes some time for the rush to subside. That’s probably an apt abstract for this release thus far. For the most part though, the narrative for Stojche has only just begun.

Belgian producer Uit de Hoogte returns to his own label LANK with ‘Polos’ EP, celebrating the mesmerizing art of looping in all its splendor. This release fuses loopy vocal chops, intricate chord progressions, and percussion hits, creating a collection of trance-inducing killers for the dancefloor.

The EP opens with “Pink Polo,” a hard-hitting house anthem that layers wonky chord progressions, super-saw synths, and a vocal acapella from Ye, crafting a high-energy peak time banger.

The second track, "Lazy 8" (stylized as ∞), mellows things out with a hypnotic female vocal loop of the word "octa," repeated into infinity. Driven by a relentless drum machine and a warm, woolly bassline, this track draws dancers into a deep, driving euphoria.

Side B kicks off with "Loops of XTc," a track built entirely from samples salvaged from a 90s sample CD discovered in a local thrift store. With a clever twist on cheap, nostalgic loops, Uit de Hoogte reshapes these elements into a deep, dub-infused house gem that revives the spirit of the 90s club scene.

Closing the EP is “Frida,” a dreamy house piece that brings a sense of droney introspection to the dancefloor. Gradually, the gentle hum of a Yamaha DX7 leads into a meditative Portuguese vocal, lifting the track to ethereal heights.

Made with love & hardware gear only!

Black Truffle is back with a delicious new EP, "Gourmet Edits", which takes you on a four-course adventure through the vintage disco territory, blending Jazz-Funk and Latin elements.
Black Truffle's distinctive style is characterised by skilful reinterpretations of hidden treasures from the 70's with a passionate focus on preserving the essence of the original material...

'Disco Meringue' is a crispy piano-driven appetiser with Latin flavour. Its syncopated piano riffs imbue it with a jazzy vibe that makes it a great tool to seamlessly transition between disco, Latin, and modern deep house in your set.

'Drum Tartar' is a percussive tour de force that oscillates between groovy Jazz-Funk and spicy Bossa-Nova, culminating in a thundering drum break that continues for an impressive third of the track.
'Consomme' is the EP's bread and butter for the dance floor layering pulsing percussion, wailing organ riffs, crunchy guitars, curious vocoders and many sax and organ solos that keep on taking it higher and higher resulting in a sizzling high-energy banger.
For dessert, we have 'Souffle', a fluffy big-band Jazz number with a funky Disco beat that gradually develops into an ecstatic culmination with a choir.

Just a Man, Beres Hammond’s 1979 album, is a hidden gem in his illustrious career, celebrated for its heartfelt lyrics and smooth melodies, hallmarks of Hammond's signature style. This album offers a rare glimpse of Hammond before he became the lover’s rock icon we know today. Blending R&B, disco, soul reggae, and lovers rock, Just a Man showcases his soulful voice against the backdrop of disco-infused reggae rhythms, creating an irresistible vibe.
At this pivotal moment in his career, Hammond had just left the band Zap Pow to focus on his solo work, and Just a Man was a bold statement of independence. It reflects Hammond’s early musical journey, combining elements of R&B and disco with reggae, and marks a key moment in his rise as a solo artist.
Produced by Joe Gibbs, a legendary figure in reggae, and arranged by Willie Lindo, the album features some of Jamaica’s most esteemed musicians: Val Douglas & Mike Chung on bass; Mike Richards, Robert Stephenson & Calvin McKenzie on drums; Robert Lyn, Franklyn Waul& Harold Butler on electric piano; Lenox Gordon, Willie Lindo on guitar; Pam Hall, Prilly Hamilton, Sharon Forrester & Beres Hammond on backing vocals; Waul, Clive Hunt & Noel Seale on percussions; Hunt, Franklyn Waul & Harold Butler on piano; Dean Fraser on saxophone; Peter Ashbourne Group as string ensemble; Jerome Francque & Roland Robinson on trombone; David Madden, Willie Brackenridge & Clive Hunt on trumpet.
The album’s standout track, “Do This World A Favour,” became a UK soul hit, but the entire album features rare and funky gems like "Keep My Wheel Turning" that reflect Hammond's versatility and ability to transcend genres.
Our exclusive edition has been remastered, delivering superior sound quality that enhances the richness of every note.
This edition is published under the direction of Joseph Barthelet for Jamwax, under license from Gavin D.A. Gibson.
Just a Man is more than just an album; it’s a significant piece of jamaican music history.

The newest single from Whodamanny’s Biloba sublabel of Periodica Records is “Volveràn,” a dark and delirious saxophonic strut given four different variations. In the Club version, gang vocals chant to the sky, pads hover like neon mist, and technoid synths twinkle through moonlit boulevards as basslines clad in black leather stomp over a futuristic disco dance. The Radio mix distills these characteristics into sorcerous display of pop songcraft, whereas the Dub goes elsewhere, omitting the sax completely in favor of delayed drum dynamics, cosmic chords climaxes, sunbaked guitar jangles, and vocals shrouded in a hallucinatory haze. And in a bold display of disco house minimalism, the Sax Only cut strips down to saxophone, bass, and drums, with accents of guitar and synth providing subtle pops of color.

The prolific, virtuosic original Bjarki Sigurðarson returns to the concept album format, with ‘A Guide To Hellthier Lifestyle’. It’s the first LP to be released on Differance.

‘A Guide To Hellthier Lifestyle’ explores the psychological landscape of contemporary social issues, offering a sideways rumination on lifestyle dilemmas and wellness obsessions, presenting itself as a response to the modern condition. It combines storytelling with innovative sound textures – encouraging listeners to pause and contemplate the absurdities of contemporary life. Neither a critique nor an endorsement, it represents an honest exploration of our world through Bjarki’s sonic lens, gleaming a heart of darkness, but eventually finding light.

The album utilises hyper-stereo techniques, soothing melodies, complex audio structures, AIgenerated voices and sampled vocals – influenced by Coil, Genesis P- Orridge, and Paul Lansky. Bjarki investigates how specific frequencies can impact consciousness, awareness, mood, and mental state, thereby influencing our perception of reality. His vaporous sound design provides a listening experience that bridges the physical and imaginative realms; sometimes placing the listener in contemplative sanctuary, and at others making them lost – somewhere strange, uneasy, disconnected.

Bjarki on his Guide To Hellthier Lifestyle

“This new album has been two years in the works. It’s sort of my take on all the social weirdness and wellness obsessions happening right now. It kicked off with a track I started in California – the story of a soul that got born into the wrong womb. During that time, I was noticing more and more of this whole ‘wellness religion’ everywhere – people trying to sell you ‘good vibes’ and random people offering you life coaching sessions on Instagram who maybe have less life experience than a houseplant. All these apps that track our every move; it’s like they’re repackaging control and calling it ‘self care’. Capitalism in yoga pants. Thats when I started putting ‘A Guide To Hellthier Lifestyle’ concept together. A never ending, self improvement rabbit hole. We are all being sold this idea that we are not quite enough and we need to buy our way out to being better.

At one point, I took a break from the album and started working on another album full of satirical speeches, AI generated voices, where I create my own voices and type in some ideas of speeches, taking the piss out of wellness gurus and life coaches. I messed a lot with these AI voice generators, creating these deep, faux serious monologues. Proper weird stuff, but it cracked me up. Reminded me of the early days, when I was 13, making tracks on Fruity Loops, mucking around with text-to- speech generators. After the break I came back to finish ‘The Guide’ on a much deeper level.

I moved part of my studio to Latvia and continued in the countryside for few months. I realised that I just wanted something beautiful. So, yeah, this album is all of that. It’s spiritual, bits and pieces from the past, all these weird cultural moments, and whatever strange places my head goes. It’s a reflection, a rebellion, a bit of a piss take. But mostly, it’s just me, doing what I do.” - Duncan Clark

The album will be released only in its entirety, December 13th digi, with no advance singles.

Anyone that's been checking my sets of recent will probably have heard the tunes on this release, it's no secret that I'm a big fan of DJ Sofa's work and I'm very pleased to have a full EP from her on the label.

Her style is versatile, ranging from hardcore to melody focused jungle to dancefloor style ruffness & much more and she covers all of that on this release, alongside a remix from Dev/Null of 8205 Recordings and a collaboration I did with her.

A few years ago, Angel Olsen quietly formed somethingscosmic, a new imprint and a home for Olsen to have “the flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar.” Somethingscosmic’s second release, ‘Cosmic Waves Volume 1’ is a compilation reimagined as a dialogue; side A features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each song, unsurprisingly, illuminates a new artist Olsen finds spectacular. Hearing Olsen refract the artists’ songs back to them reveals the depth of Olsen’s imagination, while spotlighting multiple exciting artists at work.

“As someone that emerged into the music scene through a small tape label,” says Olsen, “I’ve wanted to continue the spirit of discovery and of my debut release, ‘Strange Cacti’, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,” she continues. “We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.”

The artists on “Cosmic Waves Volume 1” draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford’s magnetic growl and guitar-god heaviness; Coffin Prick’s reckless, psychedelic fuzz; Sarah Grace White’s hypnotic voice and melody; Maxim Ludwig’s expert minimalism; and Camp Saint Helene’s beautiful, big sky folk. “Thank you for listening and supporting this experiment,” Olsen says. “If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. Love, Angel”

In making his long awaited return to Periodica, Milord steps away from the mysterious electro and new age mysticisms of past releases, and instead delivers the freaked out boogie funk free-for-alls brain-bending disco dubs, and summertime pop perfections of ‘Party Line’.

The club mix is an extended excursion through hypnotizing and ever-evolving club psychedelia, with wild phonecal detritus accenting a riffing and body-rocking banger led by svelte lyricisms, energized chants, and future gazing vocoder treatments. Elsewhere, the dub is a building body bomb of Afro-tribal grooves techno bass, echoing cascades of drum fx, and pianos soaked in interstellar aether. And for the ultra infectious radio mix, touches of Kraftwerk meet sunshine pop jam band as a molten bubblegum bass guitar bounces on an earworm drum groove, while all around, vocals soar and six-strings jangle through solar-soaked licks.

The Holiday Album That Turned Mariah Carey into the Queen of Christmas: Featuring the Standard “All I Want for Christmas Is You,” the Singer’s Blockbuster Merry Christmas Exudes Joy, Spirituality, and Conviction
Sourced from the Original Master Tapes, Presented in Audiophile Sound for the First Time, and Strictly Limited to 3,000 Numbered Copies:

Mobile Fidelity’s UltraDisc One-Step 180g 33RPM LP Set Plays with Superb Detail, Openness, and Definition
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Mariah Carey didn’t become the Queen of Christmas just because of her fervent love of the holiday. Or as the result of a brilliant marketing plan. The iconic singer earned her title by way of her blockbuster Merry Christmas, a 1994 album that quickly joined the likes of Bing Crosby’s White Christmas, A Jolly Christmas from Frank Sinatra, and Nat King Cole’s The Christmas Song as an all-time holiday vocal classic. Featuring a balanced mix of inspired originals and well-chosen covers, Carey’s fourth studio record has only grown in stature as new generations discover its magic. Mobile Fidelity’s 30th anniversary edition reissue of Merry Christmas makes her spellbinding performances and upper-tier register come alive like never before.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, the pioneering label’s UltraDisc One-Step 180g 33RPM LP set of Merry Christmas plays with superb detail, depth, and dimensionality. Available in audiophile quality for the first time since its original release three decades ago, and featuring the bonus track “God Rest Ye Merry, Gentlemen,” the nine-times-platinum set breathes with a newfound openness and transparency that enhance the spirituality, passion, and festive tenor of Carey’s singing.

Benefitting from superb groove definition, a nearly inaudible noise floor, and dead-quiet vinyl surfaces, the music takes on a heightened energy and anticipatory emotion synonymous with the holiday season. Carey’s signature vocals explode with liveliness and dynamics, the full scope of her acrobatic range presented in clear, transparent sound that practically places her on a small stage in your listening room. This collectible version also breathes with the kind of warmth, intimacy, and coziness you want from a landmark vocal album.

Recorded when Carey helped put “diva” back into everyone’s vocabulary, Merry Christmas gave the New York native another smash right out of the box. What nobody knew at the time was the degree of the album’s staying power — and how, many years removed from its initial promotion cycle, its legend would still grow and even spark a 2010 sequel. Having re-entered the Top 200 charts every year since 2019, Merry Christmas ranks as one of the three most commercially successful holiday LPs ever made and, in due time, will likely earn the top distinction in that class. A global blockbuster, it seamlessly ties together Christian, gospel, and secular threads and speaks to a boundless audience, independent of denomination.

Most obviously, the record remains inescapably connected to “All I Want for Christmas Is You,” an uptempo anthem that towers as a holiday standard and one of the biggest-selling singles in history. Punctuated with celesta chimes, sleigh bells, springy keyboards, and joyous beats, the song echoes the simple albeit engaging melodies and doo-wop style of beloved holiday classics of yore — and blends such elements with contagious dance-pop rhythms to create an atmosphere rich in joy, wonder, and excitement. Radiant with golden soulfulness and sincere conviction, Carey’s exuberant singing and on-point phrasing put it all over the top. And how.

The song stands as the only effort in Billboard history to top the Hot 100 chart during at least three separate runs. Carey’s blockbuster has already hit No. 1 during five runs, spanning every year between 2019 and 2024. That’s just one of the many records the singer holds — and only one of the multiple highlights from Merry Christmas, which includes two other Carey-penned originals, “Miss You Most (At Christmas Time)” and “Jesus Born on This Day.”

Though slightly lesser known, Carey’s remarkable rendition of Darlene Love’s “Christmas (Baby Please Come Home)” further links her album with the big, lush, Wall of Sound heritage that helped inspire its production. Carey’s heartfelt take and transformation of the traditional “Santa Claus Is Coming to Town” into an animated tune that even adults can believe, as well as her clairon reading of “Joy to the World” — cleverly augmented with bits of Three Dog Night’s 1971 hit of the same name — further reinforce her status as Queen of Christmas.

At the peak of her powers, Carey finds equivalent success when tapping more spiritual veins. Witness the reverence she brings to the timeless carol “Silent Night,” the piousness she invests in “Jesus Oh What a Wonderful Child,” and the sacred feeling she conveys throughout “O Holy Night.” You’ll also never think of “Hark! The Herald Angels Sing” and “Gloria (In Excelsis Deo)” the same way again after hearing Mimi pour her heart and soul into them, and pair the songs together.

Indeed, it’s Carey’s pliable voice, melismatic technique, and five-octave range — on display here in definitive fashion — coupled with her undeniable love for Christmas and understanding of the religious significance of the season that make Merry Christmas a must-have holiday staple. And on Mobile Fidelity’s LP, something you better add to your wish list.

Back in 2018, Argentinian producer Fernando Pulichino released ‘Search of Indigo’ on Leng, a shuffling slab of colourful, Balearic-adjacent dub disco featuring his own distinctive lead vocals and backing vocals from Luca Gasparini. Six years on, the track returns renewed and refreshed thanks to a string of new floor-friendly reworks by LTJ Xperience and Pulichino himself. Fernando kicks off the EP with his ‘AM Mix’, an inspired re-invention that re-frames the song as a hard-wired, acid-fired chugger – all restless, razor-sharp TB-303 lines, low-slung bass guitar and sparkling piano riffs. On the digital version of the EP Pulichino has also offered up his ‘PM Mix’, a deliciously Balearic disco dub rich in colourful synth sounds, elastic bass, flanged guitars and sun-bright piano licks. It's LTJ Xperience’s trio of remixes that lie at the heart of the EP though. The Italian producer, real name Luca Trevisi, initially made his name as a downtempo and nu-jazz producer before perfecting a trademark style of chugging, slow-motion hedonism that draws influence from both deep house and nu-disco. His main Remix foregrounds many of these trademark elements, in the process delivering a bongo-rich chugger laden with delayheavy bass guitar sounds, head-nodding drums, heady guitar loops and echoing vocal snippets. On the Dirty Mix, Trevisi reaches for tight, short TB-303 ‘acid’ loops, a more sparse and heavy rhythm track offering a more heads-down, dubbed-out affair that should delight those who love late night and early morning hypnotism with flashes of wide-eyed sonic bliss. Then, to round things off, Trevisi delivers a heady, atmospheric and spaced-out Dub full of jazz guitar licks, bubbling electronics, vocal snippets and effects-laden bass. It’s a winning combination.

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Das von Percussion und Bläsern getragene 'Night Of The Wolf' wurde bei Northern Soul-Events in GB als auch in Brooklyn-Discos in den 1970er Jahren gespielt und war ursprünglich ein italienischer Progressive-Rock-Albumtitel. Es wurde 1975 als äußerst seltene US-45er unter dem Namen Al Foster Band herausgegeben und ist die erste offizielle Neuauflage. Der 70er-Jahre-Modern-Soul-Midtempo-Klassiker 'It's The Same Old Story' von ACT 1 wurde auch in den frühen Discos von New York, Chicago und LA gespielt, war aber immer nur ein Albumtitel. Dies ist die erste Veröffentlichung überhaupt als 7inch.

Next Polyamore Recs release comes from Capofortuna – brothers Riccardo Cardelli (Funk Rimini) & Francesco Cardelli, and Davide Santandrea (Rame, Pastaboys) – the instrumental funk-jazz trio renowned for their ground-breaking productions and musical soundscapes. Here the Italian trio unveil a fusion of sounds with some heart felt nostalgia on their ‘Punti Di Vista EP’. In true Capofortuna style, this uber classy record pushes boundaries and is a further testament to the band’s constant evolution and commitment to musical innovation, all recorded at their boutique studio in Rimini.

The title cut is a collaboration between Capofortuna and producer Andrea ‘Neve’ Recla, highlighting their experiments with a Casio CZ3000 synth, adding a more futuristic electronic dimension. On ‘Venusian’ you will hear plenty of the Moog Rogue and the Roland JX3P, both machines together paying homage to Rimini’s vibrant arcade culture of the 90s. ‘Pianobar’ takes inspiration from the same musical moments of the 90s, adding melancholic trumpet flourishes played by Jacopo Buda. ‘Acid Basico’ nods its head to the darker sounds of Italo disco and Chicago house, seamlessly blending dub elements to create a genre-defying experience. Reflecting the trio’s shared musical heritage, ‘Punti Di Vista’ showcases Capofortuna’s ability to transcend genres at the same time staying true to their Italo-funk Rimini roots.

repress !
Sasha & Super Flu join forces for electrifying new single, ‘Astra’. Last Night on Earth label head Sasha is proving to be as innovative as ever in the studio of late. The globally renowned producer and game-changing DJ continues exploring rich new musical ground while retaining his signature sense of melody, drama, and energy. He has also made his label an outlet renowned for its quality output and backs that up here with a new collaboration alongside Feliks Thielemann & Mathias Schwarz, better known as Super Flu.

The German pair has a sound that knows no bounds and breaks all rules. They tinker with music-making gear, draw from diverse musical influences and are underground mainstays with an enviable discography on numerous key labels.

The electrifying 'Astra' is awash with smart effects and filters that smudge and stretch a vocal over rising synth tension. The heavy drums jostle for your attention as the chord vamps twist and turn, ramping up the pressure as they go and building towards a dramatic breakdown. It locks you in the moment before setting off again on more tightly woven drums and synths. The Sasha Daydream Mix is a more blissed-out and late-night rework with shakers, floating drums and deft synth lines drifting about up top to soothing and atmospheric effect.

« Most aresting, however, is the film's use of sound and music, which give each scene an atmospheric lilt. »

Maya Phillips

In order to celebrate the first anniversary of Sirocco and the Kingdom of Winds, the animated film by benoît Chieux, Stereo Rônin Records partners with Cristal Publishing, Sacrebleu Production, Take Five, and Ciel de Paris to offer a limited vinyl edition of the original soundtrack composed by Pablo Pico.

The soundtrack of Sirocco and the Kingdom of Air Currents, composed by Pablo Pico, stands out for its melodic richness and immersive atmosphere. It accompanies the journey of Juliette and Carmen through a fantastical world. The music blends traditional instruments with modern sounds, creating a nostalgic yet dynamic ambiance. The themes evoke adventure, discovery, and magic, enriching the film’s visual narrative. With his captivating compositions, Pablo Pico captures the essence of the story, providing an auditory experience that perfectly complements the film's universe.

Synopsis

Juliette and Carmen, two fearless sisters aged 4 and 8, discover a secret passage to the Kingdom of Air Currents, their favorite book. Transformed into cats and separated from each other, they must show courage and daring to reunite. With the help of the singer Selma, they will try to return to the real world by confronting Sirocco, the master of winds and storms... But is he as terrifying as they imagine?

“Being able to release this magnificent soundtrack composed by Pablo Pico is a great pride and a real pleasure. I want to open our catalog to unique works and universes. Being able to do this from our second published title, with a first foot in the world of animation, with Sirocco is an important shift for the label”

Frédéric Claquin – Stereo Ronin

“Sirocco’s music is like a deep breath. It was inspired by the fantastic universe of the film, the epic breath and the fantasy of the characters. I hope that with this vinyl edition, you will be able to relive the adventures of Juliette and Carmen and that the songs of Selma will take you far to the Kingdom of Air Currents”

Pablo Pico – Composer

“Cristal is a music publishing house, specializing in music for images, committed to working alongside composers for over 25 years. Our mission is to highlight the emotions sought in audiovisual productions, we choose our projects carefully, Sirocco was a real favorite, both on the subject and on its treatment, where music has its place, and becomes a real actress in the film. The talent of Pablo Pico brings this accuracy to the story”

Eric Debègue – Cristal Group.

Destroy All Neighbors is a twisted splatter-comedy about a deranged journey of self-discovery full of goopy practical FX, a well-known ensemble cast, and LOTS of blood. William Brown (Jonah Ray Rodrigues), is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (Alex Winter).

He finally works up the nerve to demand that Vlad keep it down, and William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. The soundtrack is an infectious slice of progressive rock cues, EDM freakouts, 80’s synth pop and so much more by the brilliant Ryan Kattner & Brett Morris. Released in conjunction with SUB POP Records, and features an original song by MAN MAN, artwork by Johnny Dombrowski, and pressed on coloured vinyl.

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco", takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond & Mink band. The album showcases this young talent's unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes" - grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar - to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album_soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer's signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

Jazz Funk duo Zaimie is poised to take the music scene by storm with the release of two highly anticipated remixes. The fresh reimaginings of Zaimie's hit tracks—“Smash N Grab,” remixed by the talented Bluey of Incognito, and “Wildfire,” remixed by the acclaimed DJ and Producer Al Kent—are set to captivate audiences and keep dance floors alive.
“Smash N Grab,” known for its infectious beat and vibrant horns, receives a brilliant touch from Bluey, infusing the remix with groovy melodies, soulful undertones and a thumping bassline that are sure to make it a standout track of the season. Meanwhile, Al Kent’s remix of “Wildfire” enhances the song's already captivating essence, transforming it into a disco-infused anthem that encourages listeners to let loose and revel in the moment.
These exclusive remixes will be released on a limited AA side VINYL ONLY run through Splash Music Productions, making them a must-have for collectors and enthusiasts alike. Each track showcases Zaimie's artistry and innovation, promising to bring a fresh dose of excitement to their discography.

The last great rock LP from Nigeria's post civil war underground. Be Nice to the People was recorded in 1977 by Fela producer Odion Iruoje as he chased the runaway success of high school band Ofege. The Western world was in the throes of peace, love and flower power as Nigeria descended into civil war in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the modern Nigerian, and propel Fela to stardom after the conflict ended in 1970. The members of Question Mark were children when the Nigerian civil war ended and by the time they recorded their only album in 1977 they were college students, chasing rock n' roll dreams as Afro-beat turned to Afro-disco. Theirs is a fiery reminder of a once vibrant scene.

"To celebrate the 10th Anniversary of their huge debut album there are two vinyl formats being made available. A red vinyl LP featuring exclusively featuring an alternative front cover sleeve and 2 bonus tracks “Lost Boy” and “Mrs All American”. These tracks were only available on the Australian and American versions of 5 Seconds of Summer respectively.
The Picture disc housed in a die cut sleeve includes as its bonus tracks fan favourites, “Voodoo Doll” and “Disconnected”."

"To celebrate the 10th Anniversary of their huge debut album there are two vinyl formats being made available. A red vinyl LP featuring exclusively featuring an alternative front cover sleeve and 2 bonus tracks “Lost Boy” and “Mrs All American”. These tracks were only available on the Australian and American versions of 5 Seconds of Summer respectively.
The Picture disc housed in a die cut sleeve includes as its bonus tracks fan favourites, “Voodoo Doll” and “Disconnected”."

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

Der niederländische Frenchcore-DJ Sefa ist zurück mit seinem Vinylalbum "Het Ergste Moet Nog Komen" ("Das Schlimmste kommt noch"). Mit brandneuen Titeln, Kollaborationen mit u.a. Devin Wild und Phuture Noize und Orchesterversionen einiger seiner Meisterwerke ist diese Doppel-LP sein bislang ambitioniertestes Werk und ein Leckerbissen für seine Fans. Tracks wie "Requiem For Frenchcore“" und "Justify" reflektieren Herausforderungen im Leben, Sucht und Erlösung. Begleitend zum Release startet Sefa eine Welttournee mit Stopps in Städten wie Madrid, Antwerpen, Hamburg und Den Haag, um den Fans das ultimative Live-Erlebnis zu bieten.

"My Bed Is An Island" is the third single from The Chesterfields album "New Modern Homes". A live favourite on the recent tour dates, the vinyl 7inch version is limited to 300 copies worldwide and comes in a luxurious package of a classic 90s style indie fold-out sleeve in a memory game style, and two inlays including a full discography plus an album souvenir insert, designed by the Terrible Hildas.

Six Nine Records Ltd. UK proudly presents a fantastic release from UK’s queen of soul and disco – Ania Garvey! Hailing from Bahamas and now residing in London, Ania is giving us two sublime tracks on one beautiful and shiny 7”, the brand-new tune “Good Love” on top and the exquisite John Morales mix of “Let’s Feel Good on the flip. Certified dancefloor destroyers and a must have for all discerning music lovers, record collectors and DJs. Definitely not to be missed as it is a limited UK press with full colour printed picture cover!

Pedro The Lion Covers “B” By Lync. Lync “B” Original Version On The Flip Side. One-Time Retail Pressing Limited To 450 Copies. Pressed On Opaque Purple Vinyl, Includes Download Coupon. The early ‘90s Olympia trio Lync harnessed the same raw energy and passionate discord of the era’s San Diego and DC chapters of post-hardcore while building their songs on the foundation of the Pacific Northwest indie rock scene’s clever hooks and sophisticated melodies. In celebration of the recent reissue of Lync’s sole LP, These Are Not Fall Colors, singer-songwriter David Bazan has re-envisioned the album opener “B” under his Pedro the Lion moniker, stripping away the celebratory distortion and riotous clamor of the original for a hushed acoustic rendition in line with Bazan’s most austere slow-core moments. Paired together as a 7” single on Suicide Squeeze Records, these two versions of “B” highlight the multifaceted power of the original song, with Pedro the Lion’s version elevating its fundamental melodic weight, idiosyncratic chord structure, and poetic power, and the original Lync version reminding us how their distinctive brand of expressive dissonance and adrenalized execution transformed their cerebral pop songs into jagged masterpieces of the post-Nevermind punk underground