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Discodelic presents the second release in this series of exclusive 45 RPM records. From the Caribbean coast of Costa Rica, province of Limón, the town of Cahuita, we present you with the incredible BOCARACÁ!

Bocaracá is without a doubt a gem from Caribbean Central America, bridging a spectacular concoction of Psychedelia with Afro Latin rhythms. Created by Isidor Asch and Luis Jákamo, two restless "limonenses", who were on the path of discovering their Latin musical roots since childhood, while also experimenting with soul and Rock in their own compositions. Together and on their own, they have written a big chunk of the history of Soul in Costa Rica with their subsequent outstanding groups: Marfil, Grupo Stop, and Manantial.

This limited edition is part of a project that has been in the making for several years. This is a labor of love and respect for the music of this singular band. Four “maes” who were known as “the only hippies in Limón” in their hometown.

This reissue includes historic material that was originally recorded between 1973 and 1974 in Audio Centro, a recording facility in San José. It’s a priceless and important document, a window to what was happening with music in the largely abandoned and forgotten province of Limón, where a musical revolution was cooking in the early ’70s, and where Bocaracá was the cornerstone.

Get to know the full story of Bocaracá in the special liner notes included in the release, prepared with love for all of you, featuring band anecdotes and photos.

In February 2018, Roy Ayers performed four sold out shows in Los Angeles as part of the Jazz Is Dead Black History Month series. It wasn"t until 2020 that fans of Ayers discovered that in addition to those shows, the legendary vibraphone player had also recorded an entire album of new material with Adrian Younge and Ali Shaheed Muhammad.

Quattrovalvole is the future/past/disco/drive project designed by Joone and Miss Zagato. Four on the floor Italo-disco, glossy 80s new wave pick us up in this afterdark lifestyle EP. The title track ‘Into the Night’ is a curb crawler’s seduction. Dedicated to the leather hand-notated black book, our dial up lover calls with arpeggiators demanding, then teasing like feathers over the phone. Big chords push us to drive fast, ready for what we long for.

B-side ‘Too Many Lights’ squeezes us, just what we need when broken glass is swept up from the disco floor. Tame drums and retro claps dictate, as the chords are stargazing with Miss Zagato’s vocals. They preside over the party, with potions of bliss and intoxication, we are invited intimately into this dream life.

Joone’s ‘Into The Night’ remix takes us into the future, driving at the wheel of an alcantara suede upgraded Ferrari 308 Vetroresina. The layers of well-informed 80s synth wave sends us into another dimension.

These are three high class disco tunes with real song craft at their heart.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

DeWolff return with their new album, Wolffpack, released on 5th February 2021 via Mascot Records.

DeWolff, the kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. They started working on the new album Wolffpack.

The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" Pablo says. "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. Another song from the Next of Kin sessions was "Sweet Loretta" and features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money."

They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Savior." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black."

The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson.”

Marc Bolan’s passions included the blues, soul, rock ‘n’ roll, hard rock and disco-soul, and his intent to explore these genres are all visited on this collection of classic album tracks and singles. His influences – Jimi Hendrix, Eric Clapton/Cream and Bob Dylan are all apparent amongst the material on Shadowhead, but the music here is unique.
Bolan’s creative fire produced a phenomenal catalogue of work: the material on this album was recorded over five
years (1972 – 1976), in seven studios, in five countries.
This record provides insights into Bolan’s creative process whilst keeping the essence of the music in its classic
form. Shadowhead showcases the development of tracks such as Precious Star and Groove A Little, and a track that
made its public debut on the CD release, Blues Jam (Dreamy Lady Session). Other tracks reveal many of the
instruments and sounds from the master tapes to enable the working processes to be more clearly understood.
This release marks the first time that this collection has been issued on vinyl.

a 1. Midnight [master version]
[b] 2. Rapids [working version]
[c] 3. Hang-Ups [master version]
[d] 4. Do You Wanna Dance [master version]
[e] 5. Baby Boomerang [master version]
[f] 6. Truck On (Tyke) [master version]
[g] 7. Blues Jam [Dreamy Lady Session] [jam]
[h] 8. London Boys [master version]
[i] 1. Lady [master version]
[j] 2. Buick Mackane [master version]
[k] 3. Stand By Me [working version]
[l] 4. Precious Star [working version]
[m] 5. Fast Blues (Easy Action) [master version]
[n] 6. Dreamy Lady [master version]
[working version]

Soul Intent delivers his second studio album, this time on Dope Plates, the 90s influenced sub-label for his Lossless Music imprint.

"Everything And Nothing" sees Soul Intent reach back 25 years to the sounds and vibes that soundtracked his teenage years in the mid 90s. It was this period when he first discovered rave and jungle through his brothers CD collection, MTV's Party Zone and Dreamscape tape packs, which were being passed around at school.

Some of the track names refer to memories from this era including "Standard Deluxe" (a long since defunct skate/surf clothing brand) and "Tribal Gathering" - the legendary 1993 rave put on by event organisers Universe.

Limited edition 12” LP - 180 gram silver marble vinyl. In response to a
world struggling with disruption and discord, Tony Tixier has instinctively turned towards his music as a way to re-establish the sundered
connections of everyday existence.
‘I Am Human’, a series of remotely records duets - available only on limitededition vinyl - was created when he returned from a sell-out US tour to find himself locked down in his Paris apartment.
An escape route appeared out of a happy combination of chances: a loan of a new piano from Yamaha and an encounter with a neighbour, David Freiss, who turned out to be an expert sound engineer. Tixier conceived a plan to spontaneously record a series of pieces, all in one take, and then send them out across the world to a chosen band of his closest musical accomplices - Scott Tixier, Hermon Mehari, Ben Leifer, Logan Richardson and Adrien Soleiman - musicians with whom he felt so closely in tune that the enforced separation of time and space could be overcome - and invited them to overdub a response to create a series of virtual duet recordings “Each track is dedicated to a friend, someone I feel close to - I sent them the track in the morning, and by the afternoon I had the track back with their parts.”
Each side of the vinyl release is opened with a performance of an original solo piece by Tixier, both recorded back to back. ‘Leaking Life’ is a meditation on the passing of time and a call to action to make the most of every day. ‘Humain’ is an expression of his own identity “A presentation of myself - I don’t see myself as mixed race - I am 100% black, 100% white, 100% human.”
Tixier has travelled the world with the likes of Christian Scott and Keyon Harrold and performed for audiences across four continents, but this is his most personal, direct work to date. Reaching out across the world, sustained by a network of friends, he has delivered a statement for our times that transcends the limitations of remote recording with the sheer force of its emotional connection. Personnel: Tony Tixier (piano), Scott Tixier (violin), Hermon Mehari
(trumpet), Ben Leifer (double bass), Logan Richardson (alto saxophone), Adrien
Soleiman (tenor saxophone)

Velvet Season & the Hearts of Gold is the musical adventures of Gerry Rooney & Joel Martin. They have a rich musical history with Gerry Black Cock Records & Joel Quiet Village.

Aldo Tamborrelli – ‘Voices’ (VSHOG Special Version)

VSHOG present their official special version of this highly desirable hidden treasure of hypnotic electronic sleaze excavated from the cult soundtrack to a 1983 Italian ‘Apocalypse Now’ cash-in, and transform it into an 8 minute erogenous bump n’ grind trip to the twilight zone torture garden, cruising leather boys & fetish girls looking for Love in all the wrong places !

‘Voices’ is a narcotic synthesised masterpiece of body music to completely immerse your dark desires on the dancefloor. A dark risqué world of crisp chugging drum machines, mesmerising warm bass pulses, and the erotic wails of seductive screams in the night !

Stefano Torossi – ‘Having Fun’ (VSHOG Special Version)

The VSHOG version of 'Having Fun', from Stefano Torossi's 1974 album 'Feelings' (a holy grail of Italian library music) is an uplifting lush orchestral string laden funky breakbeat feel-good track to raise your vibrations!

Opening with a chunky stripped down drum & bass intro, the strings entice you further in & then the Disco Funk Psyche guitar riff really lifts the track to the sweet spot & you are completely hooked! A beautiful piece of music for all occasions - Balearic Sunsets/Sunrise, Disco dancing, B-Boys and Hip-Hop heads, Jazz Dancers & library music connoisseurs!

Another fantastic offering from the VSHOG Special Version series of releases.

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

Nach Crazy Rhythms Of Mata Hari, Shake Your Bones, dem Cool Cat Club und Born To Hula! Folgt nun der 5. Teil der DJ-Set Serie auf Stag-O-Lee. Wie auch bei den Vorgängern handelt es sich hier um einen auf 80 Minuten eingedampftes DJ-Set von einem verdienten Recken der Zunft - Keb Darge. Gaz Mayall folgt direkt mit Volume 6. Linernotes: Rockabilly didn't cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn't really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott's stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, "Little Bit Lonesome" by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened. Two of the aforementioned collectors are no longer with us. I therefore dedicate this comp to Dave Vickers and Cosmic Keith who both had a huge influence on my life and my musical taste.

From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staples Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren’s singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His everevolving 24-Carat Black project spanned the ’70s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren’s 1980s demos cut with grown n’ sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. III is an unfinished symphony that peels away the final layer of Dale Warren’s mysterious oeuvre.

Summer 2011, we discovered Triptides’ music through a music blog aggregator and immediately fell in love with it. Just after that, we decided to interview the band for our own blog and to release a single, their first-ever vinyl record, through our beginning sister label Croque Macadam. The single contained two songs Going Under & Outlaw, both coming from and self-released tape named Psychic Summer. One year later, Triptides released a CD album Sun Pavilion and we were releasing again another 7” record with the main single Bright Sky and an exclusive b-side (Darling). Both albums never were released as vinyl. 10 years later we are now releasing a beautifully remastered version of these two lovely albums. Since then, Triptides became one of the most endearing contemporary psych band alongside the dynamic Californian scene with which they share or shared members (Mystic Braves, Levitation Room, Frankie And The Witch Fingers…).
The Band then formed by the duo Glenn Brigman & Josh Menashe used to make their song from their Bloomington student home studio on an old Tascam 8 track tape recorder, already showing a deep interest for the sixties influenced music. If their first EP were showing some touching errors, despite the years passing, both Psychic Summer & Sun Pavilion are still offering a very nice musical experience for the listener. Their songwriting remains flawless and the DIY lo-fi production makes it sound as spontaneous and charming as it was back then. Our favorite songs such as Going Under, Who Knows, Satin Skies, Bright Sky, English Rain or Sun/Shine shows a great kraft for beautiful and catchy songs anchored in both a sixties tradition and the then-burgeoning modern indie-pop sound through very interesting surf influences and uses of a drum machine.
The reissue is a great opportunity to rediscover Triptides in their beginnings. The objects had been carefully made, Psychic Summer for example had a brand new artwork by psychedelic collage master Andrew McGranahan, both have color vinyl version and standard black. Far from being rough drafts, these two albums are still showing a beautiful angle on Triptides’ music and their always strong discography.

Summer 2011, we discovered Triptides’ music through a music blog aggregator and immediately fell in love with it. Just after that, we decided to interview the band for our own blog and to release a single, their first-ever vinyl record, through our beginning sister label Croque Macadam. The single contained two songs Going Under & Outlaw, both coming from and self-released tape named Psychic Summer. One year later, Triptides released a CD album Sun Pavilion and we were releasing again another 7” record with the main single Bright Sky and an exclusive b-side (Darling). Both albums never were released as vinyl. 10 years later we are now releasing a beautifully remastered version of these two lovely albums. Since then, Triptides became one of the most endearing contemporary psych band alongside the dynamic Californian scene with which they share or shared members (Mystic Braves, Levitation Room, Frankie And The Witch Fingers…).
The Band then formed by the duo Glenn Brigman & Josh Menashe used to make their song from their Bloomington student home studio on an old Tascam 8 track tape recorder, already showing a deep interest for the sixties influenced music. If their first EP were showing some touching errors, despite the years passing, both Psychic Summer & Sun Pavilion are still offering a very nice musical experience for the listener. Their songwriting remains flawless and the DIY lo-fi production makes it sound as spontaneous and charming as it was back then. Our favorite songs such as Going Under, Who Knows, Satin Skies, Bright Sky, English Rain or Sun/Shine shows a great kraft for beautiful and catchy songs anchored in both a sixties tradition and the then-burgeoning modern indie-pop sound through very interesting surf influences and uses of a drum machine.
The reissue is a great opportunity to rediscover Triptides in their beginnings. The objects had been carefully made, Psychic Summer for example had a brand new artwork by psychedelic collage master Andrew McGranahan, both have color vinyl version and standard black. Far from being rough drafts, these two albums are still showing a beautiful angle on Triptides’ music and their always strong discography.

Lyon-based freakers Chico Magnetic Band began as Chico & the Slow Death, its front man a
wild Tunisian-born singer otherwise known as Mahmoud Ayari, with drummer Patrick Garel,
bassist Alain Mazet and guitarist Bernard Lloret, later replaced by Bernard Monneri.
Conjuring a dark, excessive sound with unfettered guitar, pummelling drum rolls and Ayari
growling and grumbling over the top, this sole LP is culled from different permutating
sessions, with plenty of audio freakery and extreme effects from Jean-Pierre Massiera;
Hendrix cover “Cross Town Traffic” is rendered with love, despite Ayari’s hefty accent.

“The earth shall rise again...”
AMOR/LEMUR finds the Glasgow quartet AMOR in partnership with Norwegian improvising ensemble LEMUR to hopeful and ecstatic effect. Conceived before the onset of Covid 19 but finished during spring lockdown, their eponymous EP is the most loose, alive and elevated recording in AMOR’s catalog. AMOR/LEMUR takes the template of throbbing avant disco expanded upon on previous recordings for Night School and lifts it into new

territories, with new tonalities and unexpected turns on the journey. More than anything, the expanded, near- cinematic expression of human connectivity feels like a lightning new energy to grasp in the dark.

Following a revelatory concert in Glasgow in January 2020 wherein the two sets of musicians met and performed together for the first time, a recording session was arranged the following day, resulting in the most elevated permutation of AMOR’s art to date. Each track was built upon a rhythmic bedrock of percussion and drums performed by Paul Thomson and samples/synthesizer by Luke Fowler. Thomson used bamboo Javanese gamelan (most notably on For You) and scrap metal, as well as traditional percussion and drums while Fowler incorporated processed ambient field recordings recorded in enclosed acoustic spaces around Glasgow. Singer/pianist Richard Youngs contributes some of the most bright and mindful work of his career. Acoustic bass player Michael Francis Duch, whose lush playing as ever provides the elastic spine to each song, scored the string parts for LEMUR on piano at home in Norway. The addition of swelling strings and drones fills out the AMOR sound significantly, lending a sonorous tone to 8 minute, epic closer For You or an ascending melodic introduction to Stars Burst that feels like a new morning dawning on a world saved from certain death. With the circumstances of lockdown forcing the musicians to work differently, a thread of optimism and utopia grounded in the moment weaves through these tracks. Unravel reveals a spine tingling vocal from Youngs. It’s a song about the simultaneously grounding and ecstatic effect of love, feeling connected to others. It’s a simple message, “I’m finding myself in your smile, always unravels me” speaks of ego death, the dissipation of the material into a nirvana of pure energy, the power of surrender. This isn’t a quasi-religious message, this is the power of each other, a love song to connection in a temporary age of isolation. Stars Burst is a play on the inner and outer cosmos, with narrator Youngs exploring wonder to a pounding galloping rhythm and snake-charming synth. It’s an open dance, with the group locked in together for the wild ride. Fear is the centerpiece of the record, starting with drones and scraped overtones before swirling synth notes filter upwards to meet reverberating minor chords. Over 8 minutes of tight but loose playing, Youngs is the shaman instructing us to use Fear as a celebration of the moment, embrace it and jump into the unknown. The only way to overcome your fear is to feel it, use it as an energy. The use of the studio as an instrument throughout side 2 is particularly important, with the dubbing and mixing prowess of engineer Paul Savage (who mixed unattended due to lockdown restrictions) and tape manipulations performed by Jason Lescallet coming into play. For You closes out with a largely instrumental, evolving composition that uses many of the abstract and novel aspects of this permutation to aid the trance. It’s massive, an unfurling creature with unexpected tonalities and serious heft.

Recorded and produced sometime, somewhere between the back streets of Hackney, Margate and Sydney, this release brings together 4 deep and diverse tracks from UK producer Mike Misiu (previously seen on Razor n Tape and Pleasure Unit among others). It also marks the maiden musical voyage of his new label Heads High.

Opening track 'Darkness Falls' floats a dramatic filtered string section over a driving dub-disco-house beat, spacey synth plucks and euphoric swells.

Track 2 'Cascade' builds on a tumbling synth bass and moody chord stabs with jazzy rhodes, strings and filtered vocals to create an infectious shuffling deep House groove.

On the B side 'For Your Love' is a bubbling psychedelic cauldron of hypnotic synths, piano lines and soulful vocal echoes which come together as a driving electro-discoid-funk jam.

Closing out the E.P. is 'Bala' is an uplifting percussive number with a vibe that transports you to an Afro-cosmic dancefloor beyond the stars.

Early summer 2019, João Lobo started recording his compositions at les Ateliers Claus in Brussels, with guitarist Norberto Lobo, bassist Soet Kempeneer and recording engineer Christophe Albertijn. The recording sessions were planned over the course of one week, however the job was mostly done in just a few takes. With the addition of some overdubs, the whole process was finalised in a spontaneous wave. It is too simplistic to define Joao Lobo’s compositions with one term, and the association of the album “Simorgh” with this ingenious partnership’s new creations, is inevitable.

While the mix of genres and styles may be easy to distinguish, the focus centres on the result of the mixing: a highly grooving and an occasionally paused and introspective music that seems out of time and out of space. It is difficult to grasp or define a specific period in time or a geographic origin in this fusion of references, as what you listen to is a bold creation of original and surprising elements. Drummers – such as João Lobo – employ a multi-layered concept in their music, weaving the different tracks into a linear wash of sound. He plays the song with the drum set while the other members fly in and out of the compositions, always gathering around their phoenix in order to attain enlightenment.

What João Lobo and many of his contemporaries are up to, can be explained through simple terms as a future exploration of the emotionally expressive possibilities of sound. It breaks away from the conventional order providing space for the discovery of a new order. Simultaneously it allows a more profound and broader expression of what the current reality of music is and represents. It was instantly clear for me that we had to share his music with our audience and create this medium for happiness.

This release is the trio’s debut record, which is the impetus for their personal development in the realisation that features João as a mentor in the creation process. The featured compositions highlight the musicians’ unique physical aspect to control their instruments and their hidden techniques that underlying these tracks. The result is an ongoing aural interplay. It was love at first sound.

This album is a co-release between Les Albums Claus and Shhpuma.

It was inside Jeff Tweedy’s second home, The Loft in Chicago, that Love Is The King was recorded in April of 2020. Surrounded by an assemblage of treasured instruments and loved ones in a world that felt more and more alien by the day.

Out on dBpm Records, Love Is The King, a “beautifully honest ode to love and hope,” is the follow-up to 2018’s WARM and 2019’s WARMER, and comes on the heels of Tweedy’s second book, How To Write One Song, out October 13th via Penguin Random House's Dutton. “At the beginning of the lockdown I started writing country songs to console myself. Folk and country type forms being the shapes that come most easily to me in a comforting way. 'Guess Again' is a good example of the success I was having at pushing the world away, counting my blessings — taking stock in my good fortune to have love in my life,” comments Tweedy. “A few weeks later things began to sound like 'Love Is The King' — a little more frayed around the edges with a lot more fear creeping in. Still hopeful but definitely discovering the limits of my own ability to self soothe." –Jeff Tweedy

Based on a short-story by the master of horror and fantasy, author Clive Barker (Hellraiser), Rawhead Rex is set in 1980’s rural Ireland. The Demon, alive for millennia and trapped in the depths of hell, is unleashed on the sleepy local farming community. Remembered faintly through pre-Christian myth, the only one that can stop Rawhead's bloody rampage is the historian, desperately racing against the time.
This is the first ever release for the soundtrack by Colin Towns, one of Europe’s most prolific film, television and theatre composers, but also a pianist, songwriter, arranger, producer and collaborator, known for The Puppet Masters, Space Trackers, Maybe Baby, Foyle’s War, Doc Martin, Pie In The Sky.
"The first film I scored was Full Circle which starred Mia Farrow and is still in the BFI top ten for best score for horrorfilms. I felt that film was more of a dark scary mystery. Rawhead Rex on the other hand was clearly a horror film 100%. I visited the film set in Ireland during the filming to take in the atmosphere and meet the actors after which I decided to record the music at CTS in London with a sixty piece orchestra plus electronics. I have always orchestrated my own work and had a wild time with Rawhead which is what I really love doing". Colin Towns

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

Growing Bin say sayonara to summer with these bittersweet Balearic gems from Japan’s Nuback. Emotional pop and daydream dub to make you feel younger than yesterday. While the Discogs hipsters hastily hunt down the last, lost street soul OGs, Growing Bin choose instead to indulge in a little Nuback swing. Enlisting the talents of Tokyo’s Dai Nakamura, Hamburg’s home for sensitive sounds provide a much needed vinyl release for the misty-eyed ‘When The Party Is Over’ and ‘Heartbeat Summer’. Largely operating through his own Too Young Records, Nuback trades in textured soul, sympathetic synthesis and forlorn funk - a master at making you move while breaking your heart. Back in 2013, he waved ‘Goodbye To Summer, Again’, giving a digital release to these two tracks, which lurked a little low for the radar until Dai and Basso met somewhere beyond the algorithm, soon bringing this release to bloom. Opening with a fanfare of featherlight pads and full bodied bass, ‘When The Party Is Over’ is pure sonic seduction, holding both Balearic boogie and City Pop in a tender embrace. Delicate guitar and sparkling sequences tug the heartstrings with nostalgic beauty, and Dai’s smooth vocals are made to make you swoon. Emotional pop at its finest folks. On the B-side, ‘Heartbeat Summer’ drops the tempo and soaks up the sun, losing its cares in a haze of loved up dub. As soulful keys sink into spring reverb and steam kettle synths ride a rolling bassline, this downbeat delight lays back in the long grass, making shapes from the clouds and sipping a cool koshu. For summer lovers everywhere; A facemask ruins a first kiss, so start your romance right with Nuback.

• Ace’s 45th anniversary 7-inch selection continues this month by taking us back to our roots, and bringing you incredible previously unreleased alternate takes of two all-time classics of rockin’ 1950s rhythm & blues.

• R&B lovers will need no introduction to either Roy Brown’s ‘Boogie At Midnight’ or Lloyd Price’s ‘Lawdy Miss Clawdy’, but these recently discovered ‘Take One’s put whole new perspectives on two proven classics. The fast and furious ‘Boogie’ makes the issued 1951 master sound like a lullaby in comparison, while ‘Clawdy’ has an alternate opening line that would have guaranteed no airplay would have been forthcoming back in 1952.

• Both tracks are taken from new transfers of the original acetate and tape sources, and both play loud and proud. Each side of the 45 offers a representation of the original label design that would have been used, had they been issued at the time of recording.

• No self-respecting R&B singles collector will want to be without a copy of this essential commemorative single, featuring two of the greatest names in 1950s black American music.

Casbah 73 makes his Glitterbox Recordings debut with an insatiably funky slice of disco soul ‘Love Saves The Day’. Driven by a soul-filled vocal hook from Angela Goode, this timeless jam’s authenticity lies in its rawness, sounding like it’s been ripped straight from a 1970s dancefloor while maintaining a freshness for today’s listeners. This special 12” delivery includes two stellar re-works, opening with master of the disco edit Danny Krivit’s funk-fuelled mix that smacks with New York City flare, bubbling keys and slap bass breakdowns to boot. The snapping Percussion Jam closes out the A-Side, before Chicago’s Rahaan takes control on the flip, taking the vintage sounding original and transforming it into a pumping, modern disco cut. Finally Casbah 73’s original rounds off the 12”, completing this package that is a must have for any discerning disco DJ.

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.

"The second in the series of DJ Duckcomb affiliated reissues brings the Jamaica / London connection to light, with a reissue of the Brixton based band Red Cloud under the spotlight.

Double Talk was their debut release, coming on House / Freestyle / Reggae label Dancefloor Records, first explored by Emotional Rescue several years ago. After meeting with label head, Jeffrey Collins, in his then London base, the band went on release 2 albums, a 12" and 7" with him, as well as notably being Floyd Lloyd Seivright's backing band.

The original 1983 12"" - now a highly sought after digger's disco reggae bomb - Double Talk is a perfect summer Lovers jam. A tale of sweat talking, cross loving and loss, with redemption and strength, all backed by an uplifting drum and bass, with guitar, keys and piano highlighting the JA climbs instilled in dem sound.

Dubble Dub brings it all down, stripping away and lifting the interplay between keys and piano, allowing guitar to ride above warm bass grooves.

On the flip Duckcomb returns, with his now trademark riding the vocal'n'dub, gently teasing'n'pulling, looping'n'flipping, before letting the echoplex loose to just let the wonderful groove bump'n'grind.

Azumah was the coming together of a group of talented young dancer-musicians from Soweto (South Africa) with musician and instrument-maker Smiles Mandla Makama of eSwatini (formerly Swaziland). Long Time Ago is the surprising and enticing, resultant album from 1985, recorded in the house of theatre stalwarts Des and Dawn Lindberg in Johannesburg.

Produced by David Marks (3rd Ear Music, Hidden Years Music Archive Project), Des Lindberg and Smiles Makama, this album takes us back to a priceless musical moment in the dark and wild eighties of apartheid South Africa. Smiles Makama is a gifted and visionary music-maker. He was born in South Africa but grew up in eSwatini, the small kingdom enveloped by South Africa and Mozambique on each side. He tells the story of the process leading to the recording of this remarkable album: “I was invited from Swaziland by a Soweto-based group, Azumah. … One of the members knew that there was a wizard in the mountains in Swaziland, building instruments. As I was in the mountains in my hut and then I saw people arrive. They found me. It all started there.”

Instead of simplistic images of a generic ‘Africanness’ or ‘South Africanness’ and pictures of constructed and exotic ethnic identity, a contemporary, fresh listen to this album encourages an appreciation of the composition and musical skill at play in this music. Few people speak about the individual innovation and experimentation involved in the creation of this music (or the music of Amampondo for instance). “Woza Moya” sticks out as a dark and melancholy creation, different tonally to what has come before, evoking the work of Naná Vasconelos or Don Cherry. One thing that remains the same decades later is that encouraging deeper listening to the sounds of the mbira, the nyunga-nyunga, the uhadi or makhoyane bows is still challenging. Discouraging the superficial, short-lived acknowledgement of this ‘unchanging’, ‘African cultural expression’ is the everlasting hurdle. This is made so much easier by albums like Long Time Ago: when artists create music to be loved and entangled with, to be challenged by, derived from the musical roots and structures of these instruments and then expanded upon with creative freedom, risk, humour and funk.

Azumah did this in 1985 and we have this album again today, newly released, to remind us of that moment and the moments since when musicians have urned inward and done similar. As Smiles has it: “Indigenous music doesn’t fade out. It’s just waiting to be discovered, all the time.”

"I have been in love with the Detroit sound of techno since forever, so when I discovered Subradeon, I was immediately struck by the soul and energy of their music. I have been lucky enough to get to know Giuseppe and Salvatore over the last year and so it was always a dream for me to have them release a record together on Sous. Now this is happening, I couldn't be more excited. They have made three spectacularly good tracks that I know will last forever in my heart, and hopefully in yours too" opens Anja.
Sous has been drip feeding us top line releases all year long, despite the world coming to a standstill, Anja believes that continuing to release music is important to keep spirits high. She has been showcasing some of the newer talent from around the globe alongside some household names including Marcus Suckut, Fort Romeau and Mella Dee to the last release from Italian duo Reform.
October brings Subradeon. Hailed as the new school of the techno scene, they might have grown up in the Neapolitan underground scene, but their sound has become a melting pot of influences from their current home town of Berlin and the duo's self- confessed spiritual home of Detroit.
Giuseppe Salone and Salvatore Lannotta deliver their debut release 'Breaking Down Borders' on Sous, compromising of their characteristic raw soul, profound meaning and energetic purpose. This package includes a remix from Techno pioneer Stephen Brown (Djax Records, Transmat, Music Man).

A​ - 45 rpm - ​ ​“Wanna Freak?” The funk stabs, groovy sub, and mutated disco vocals will make you Freak all over the place! From Spiltmilk’s recent album ‘Funk Side of A Moon,’ for mid tempo house lovers this slo-mo jam clocks in at 109 bpm.

B ​- 45 rpm - ​ ​“Addict”
Outspoken yet spacey, ‘Addict’s’ staircase bassline flatters the bassheads but keeps the g-funk future peeps innit! Keep an ear out for LA party rocker Ztrip’s latest 45 set, mashing up doubles of ‘Addict ‘ white label with popular g-funk jams!

Trevor Wyatt aka ​Spiltmilk ​is madly passionate about refining his sound techniques. It is all about the spacey mutated funk right now, grab a listen to this flavour filled Album: ‘Funk Side of A Moon’ out now on MSLX Recordings

Ending the season on a breezy note, our new VA 'Boogie Angst, Edition Three' delivers the ideal wares for a buoyant last stretch to an otherwise trying year. Spanning a brightly hued kaleidoscope of pop-infused house and mellifluous boogie, Edition Three pushes forth a selection of our choicest grooves from the past year as well as a batch of unheard and exclusive gems to keep you in the warmest, most positive mindset for the winter to come. Through fifteen cuts covering a wide but cohesive spectrum of balmy sonics, the compilation once again offers a much spitting image of what the label's been up to in recent times.

HIGH HØØPS playful revamp of Secret Rendezvous' fresher-than-fresh RnB joint 'Back In The Day' sets the tone right away, followed closely by Moods & Two Another's lush coastal disco number 'Control' and Snacks & Eric Biddines neo-big band style house treat 'All Night' - a singular chunk of ballroom bop tinged with soulful blues tropes and Caribbean melodic accents, sure to have the dancers jiving without further ado.

Here comes Inkswel's synth-splattered mix of 8-bit pixelation and Run DMC-esque hip-hop 'Too Late' (ft. Stan Smith) and Saux's dream folk excursion 'You're Not Wrong'. A highlight of the package and mesmerizing piece of wistful, kosmische-laced disco, Kraak & Smaak 'Centro De Placer' ushers us in a realm of velveteen ingenuousness and sun-streaked utopianism, steering us away from the tar-scented gloom of soulless metropolises into an all engulfing prism of hope, love and grace.

Utrecht-based vibist Feiertag punches the clock with 'Encino Boogie' - a four minute-odd slab of buoyant funk sprinkled with laid-back house tropes and brass-heavy, loungey dub tonalities, perfect for drawing out the pleasure of dreamlike summer boogie sessions. Clear your mind and shuffle your feet to that solar-powered mix of fevered drums, slap bass and sensually aqueous groove.

Next, Kraak & Smaak's add their easily identifiable, almost Beck-ian spin to Jean Tonique's lysergic pop hit-en-puissance 'Too Bad' whilst Bondax lo-slung remix of Moods' sense-awakening soul tune 'Slow Down' (ft. Damon Trueitt) eases you into a place of inviting suavity.

Inkswel's funky robot chugger 'The People' (ft. Dave Aju) picks up the torch next, followed by Flevans, your go-to man for proper electroid floor traction. The UK-based producer has you covered with 'Everything I See' - a surefire, bass-driven roller inbound for severe club impact with its infectious mix of fiery riffs, mangled female vox slivers and racing groove. Next, Secret Rendezvous' sun-beamy ballad 'Your Love' takes us on a gently bouncy, romantic ride.

Last but not least, Vhyce's smooth hybrid of synth-strewn RnB and lo-velocity funk 'Lose Our Minds' (ft. Yves Paquet), David Harks' metronomic disco-pop anthem 'Twice' and Saux's sleek-textured synthpop exponent 'Night Is All There Is' round off the package on a typically smooth and vibrant sentimental touch.

For the wax heads out there, a limited 9-track vinyl sampler will be issued alongside the digital compilation, featuring some of the tracks on the album + a few alternative versions, and furthermore a vinyl exclusive of Kraak & Smaak's remix of Izo FitzRoy's 'When The Wires are Down', initially released only digitally via Jalapeño Records.








h 08 | Inkswel The People (Cody Currie Remix) feat Dave Aju
feat Wolfgang Valbrun

The Vision returns with the third single from their eponymous debut album, along with remixes from two of the scene’s most revered producers. ‘Missing’ treads the familiar tale of love lost with a stark openness, a funk-filled track underpinned by a catchy vocal hook sure to resonate with its listeners. As one half of The Vision, this release is the first where Ben Westbeech provides vocals as well as producing behind the scenes alongside Kon, perfectly matched with regular collaborator Andreya Triana to bring the heartfelt lyrics to life. On this special 12” package, underground hero Maurice Fulton’s remix opens the A-Side, an artist described by Resident Advisor as “making some of the most unhinged house out there”, his mix may strike listeners as surprising with its stripped-back feel. With extended instrumental breaks perfect for club play, the reflective feel of Maurice’s mix aptly suits the message of the record, as elegant guitar riffs and warm synths make his remix an irresistible version. The Accapella closes out the A-Side, an essential DJ tool that allows Andreya and Ben’s flawless vocals to really shine. On the flip, the original version of ‘Missing’ opens, before Swiss DJ Deetron provides his remix, impeccably executed with bubbling synths and snapping percussion, as the Character Records boss explores the emotional potential of dancefloor-destined house to compelling effect. ‘Missing’ is no exception to The Vison’s existing discography, as meaningful messaging is paired with flawless execution to produce a record with all the makings of a future classic.

A SIDE
Scharbatke is back again with this two-tracker on So Glad Records!
An imaginary journey from New York to Paris, based on one single session from Scharbatke with his new Studio Partner Jonathan Uhlig ended up in these piano - espresso - cafe mood kind of tracks. But with thick cigarette smoke and violent palpitations.
B SIDE
It all started with Love is only moments away... and of course no Idea how to run a label. Luckily a couple of crazy record sellers believed in our release. After a short time we were sold out...
Turquoise Colored French Tourists - Love Is Only Moments Away (Bias Remix)
Check this super duper funky remix of our first release ever.
Sure thing - make disco moves now, because ...
Immediately dancing is the only option that allows Bias with this remix!
Turquoise Colored French Tourists - Love Is Only Moments Away (Original mit harter Kick)
And yes there were lot of discussions about the kick drum.
We thought about making a remastered version with more gentle compression.
Well, but we didn't!
This is the Original mit harter Kick!

After a well received and enjoyed first joint on this freshly founded co-founded music label joining Kalakuta Soul Records with the neighboring Bahlo Records Store, Kalakuta Soul Bahlo Records is more than happy to re-issue a Disco gem that has been enjoyed in several occasions in the past years but seldom was easy to find.
On a working trip to Italy the salesmen Mohmed Fersi, Lotfi Ferjani, Smir Almia, Mohsen Matri and Nejib Toukabri used their stopover in Italy for a recording session guided by the owner of Phono Sound Dischi Francesco Ammaturo and that resulted in the release of „Dance“ and „Can’t You See Me“ in 1980.
Almost 40 years later, KABA’s half Guy Dermosessian got invited by the mighty Najib Ben Belgacem for a memorable party he organized together with Tunis’ mighty „Downtown Vibes“ Family at Wax Bar followed by a live stream for downtown based and freshly found record label „Eddisco“. Why we’re telling you that? Well, odds are it
turned out that one of Downtown Vibes’ Baba and Eddisco’s Mama was the amazing selector and DJ Hamdi Toukabri, nephew of Nejib Toukabri, Corniche Band’s Keyboard maestro. And the rest is history as you can imagine.
We are more than pleased to have had the chance to re-issue this amazing record we hereby would like to dedicate to the shortly deceased Mohmed „Momo“ Fersi and his family. May his soul rest in peace. We would also like to thank Hamdi Toukabri and Nejib Toukabri for making this happen and possible as well as our brother Najib
Ben Belgacem for bringing us all together in the first place.
Corniche Band comes in its original Cover design and with the same tracklist.
Stay tuned for an exclusive and lovely Edit of „Dance“ by Downtown Vibes’ super amore Hamdi Ryder hitting the digital shelves upon release of this record.

It is a privilege to present to you, our esteemed Daptone Family, a selection of fan-favorites by thee legendary Sharon Jones and her Dap-Kings available for thevery first time on 45!
Over the years Daptone H.Q. has been flooded with suggestions and requests for certain album tracks to be available on 45, so we've gone ahead and pressed up a few that are consistently at the top of the heap.

First up we have "Keep On Looking", a track that debuted on SJDK's breakout album 100 Days, 100 Nights,which subsequently became a staple in the groups live set. The incessant backbeat and tight horn arrangement, coupled with Miss Jones' powerful plea to a lost lover provides unadulterated dance-floor fuego!

On the flip is a new discovery of sorts. While digging through the tape archive we stumbled across a box labeled "Natural Born Lover- Instrumental with Strings". Much to our delight what we found is precisely that: an unreleased instrumental version of the SJDK classic, featuring a string arrangement that was cut from its initial release. And as if the nasty drum break at the top wasn't enough to make this a shoe-in addition to Dj boxes and playlists alike, the gorgeous quirky string arrangement places this one soundly into "must have" territory.

Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.

Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.

To call the Reverend John Wilkins a national treasure would not be an overstatement. He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.

Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”

But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

After their two acclaimed edits EPs, Mister T. Records are now joining forces with LA based producer DJ Duckcomb, to deliver a groovy selection of leftfield italo-disco cuts reworked for dancefloors. One year after the release of their 2nd EP, a tribute to Brazilian music, Mister T. records are now back with a 12” EP showcasing their love for obscure disco and Duckcomb’s amazing digging skills. This record aims to be a tribute to the very special sound of the late 80s electronic music and to both the artist’s and label’s lifelong passion for obscure italo disco.
Famous as a record collector, Duckcomb has also made himself a name by editing forgotten jewels from classic disco to islands reggae. Part of both duos Sharegroove and Trap.Avoid, he’s been
sharing his work and latest discoveries on his bandcamp and soundcloud for years and he has already released two EPs on Universal Cave and Pleasure of Love as well as edits on Cultures of
Soul and Emotional Rescue.
He’s now joining Mister T. Records with a 3-track EP compilation of hard to classify, slow-tempo, disco edits. On the A-side, Duckcomb partnered up with his longtime friend and DJ partner Dino
Soccio, boss of California label Pleasure of Love, for a powerful rework of the German protohouse tune “Holidays”, with a new dancefloor oriented beat and emphasized tropical influences.
On the B-side, he showed his editing skills working on two obscure downtempo tracks with that recognizable late 80s melancholic atmosphere. By removing not danceable parts, building DJfriendly grooves and removing unnecessary vocal parts, he managed to come up with a smooth italo ballad with acid accents on “S.O.S.” and a beautiful balearic new-beat jam on “King (of) a Beat”.

This record began as a mystery D.O.S. 12” release in September asking questions was it new, was it old, was it a bootleg? Who are D.O.S?? Soon the limited edition 12” pressing release serviced to a handful of DJs and tastemakers was commanding £100 online. The record is a re-make of a Carmen Amez disco/boogie record from 1983 which itself trades for over £200 on a questionable quality pressing that demanded such a great dance record should be freshly re-recorded with strings, horns, bells, whistles and Vanessa Haynes on vocals. The song was originally a Paul Anka composition/recording, but is now out again here by Diplomats Of Soul in collaboration with Incognito’s Bluey with an outstanding cast of UK musicians. D.O.S. and Bluey previously worked together on renditions of “Sweet Power Your Embrace” and “Brighter Tomorrow”. Puzzle solved and record now available.

Beats on Boat vol. 1 is a double LP with 6 nationalities, 8 artists & 16 Tracks pressed on 180g vinyl and limited to 400 copies w/ FloFilz, Made in M, Melodiesinfonie, Juan RIOS, Hazy Year, Lunchbag (aka Theo Spazzatura), illiterate (aka Les Geddit) & iamalex.

The compilation accompanies the YouTube series which can be watched on our website: ear-sight com

All the artists involved have one track on each vinyl, celebrating their musical diversity. The first vinyl will be the sound you know and love of theirs. The second- will be the world premiere for the majority of the Musicians featured- taking a step out of their comfort zone into house, disco or their individual interpretations of those genres.

We set sail last summer to unite some of the best producers we know and came back with hours of dope sets and a 16 track double vinyl containing a lot of firsts - not only for us but also for most artists aboard- the C & D side are full of world premieres!

This vinyl is the blueprint of what’s to come here at ear-sight in the next couple of years, staying true to our lo-fi roots but also reaching out to new horizons and we feel so blessed to have taken this first step with these talented cats.