Suche:doe

Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.

Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.

Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, Buscrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real.

ONE SIDED BLACK VINYL.
First ever release of the scariest, most inappropriate and possibly most influential kids TV music of ALL TIME.
'A first-ever release to the series' alarmingly experimental soundtrack'
SHINDIG! Five Page Feature.

There is only 17 minutes of music throughout the series, so we have fitted it all onto a one sided LP. Artwork is by Julian House – legendary hauntologist (Belbury Poly etc) and the man behind some of the greatest spooky band artwork of all time- Stereolab, Broadcast, Primal Scream etc etc.
Sleevenotes by Stewart Lee and inner sleeve notes by Alan Gubby of Buried Treasure Records.
It all looks and sounds superb. Of course it does because it’s a Trunk Records release. AND REMEMBER THIS IS NOT A REISSUE!!! SO DON’T SAY IT IS WHEN YOU TRY AND SELL IT.
anyone who watched was scared shitless. The 7 part drama centred around disturbing happenings in a strange pagan village of very weird and unusually happy people, all set in the midst of the stone circle at Avebury – known as Milbury for the show.
The series shown across British TV (and USA TV in 1980) would scar, disturb and influence an entire generation. Without COTS it’s unlikely we’d have hauntology, spooky folk stuff, stone circle clubs, weird walks and a hunger for such pagan oddities everywhere. And COTS really is the key TV series in many of these modern movements, way before The Wicker Man. Even though The Wicker Man was released in 1973 it was an adult film only released to a few cinemas.
Very few people saw it and its influence really started in the late 1990s with the first release of the music. Whereas COTS on the other hand was shown at 5pm, on schooldays, to a whole nation of impressionable kids, who had never seen or heard anything quite like it. The power of COTS runs deep. So much so Stewart Lee made a whole documentary about it. The release of this long-awaited album will be a “Happy Day” for many.
THE MUSIC:
According to rumour the director of the show was listening to Penderecki as he first approached Avebury to scope out locations. Sidney Sager and The Ambrosian Singers produced an avant-garde and often quite oddly terrifying sequence of vocal drones and dramatic peaks based on ancient Icelandic singular word “Hadave”. And yes, it’s still scary.

If you decide to look up the strict definition of outsider in any dictionary, you'll find that the term is understood as "a person who is not involved with a particular group of people or organization or who does not live in a particular place".

Perhaps this is the most accurate description of Santiago Merino. For a long decade and from his native Medellín, this DJ and producer has always tried to keep his sonic spectrum open. An interdisciplinary artist capable of freely navigating through a myriad of genres is rarely encountered, and that may be the reason why Santiago enjoys a non-negotiable respect in the different scenes that make up the music circuit of his city. On this occasion, Back Door Records is pleased to serve as host to receive one of the most anticipated facets within the range of music produced by this Colombian artist.

The Outsider marks the debut of a new project signed by Merino, a new hunch in which house takes the helm of an EP entitled 4 Club Use. Composed of five tracks, 4 Club Use seems to show us the true essence behind a genre that has almost been trivialized over the years. In this case, El Outsider decided to take the basic ingredients of tech house to produce a recipe much richer in flavors, textures and melodies. "Fire People", for example, leaves the window open for the airs of Detroit techno to come in and cool off any sunny afternoon. "Outsider" and "The Heat", on the other hand, are seasoned by the purest amen breaks, as if it were a blessing intended solely for the dance floor.

But the real deal across 4 Club Use is definitely El Outsider's own edit of Merino's track "Those Days". Raw and forceful kicks, meticulously sampled vocals and pads that seem to wrap them magically, make this bomb one of the candidate tracks to take the absolute podium of 2023.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

'What if Blitz hailed from Los Angeles and sang in Spanish’ isn’t a question you hear all that often. Fortunately, we don’t need to ask - the answer is provided by Generacion Suicida’s latest album, which rages and rattles in all the right places, drenched in the memorable brilliance that powered the Killed By Death compilations (ask yer dad - and if he doesn’t know or care, burn his terrible records and make some space to track down the KBD LPs). The band’s slogan is ‘musica del barrio, para el barrio’ - music from the neighbourhood, for the neighbourhood - but it sounds like they could use these hooks to take on the world. That’s a pretty accurate sentiment as well, because this album was written during the Covid-19 lockdown of 2020, while the world bubbled over with carefully managed misinformation, police violence and the sickening overspill of white supremacy’s foul brew. If Regeneracion sounds potent, it’s because there was a lot to be angry about, and the result is arguably their best album yet. Those chorused-out guitar lines carry shades of deathrock, hints of Manchester circa 1980, elements of something you might call goth if it was several degrees less furious. But there’s no doomed romance to this music; it’s an all-out attack. Street punk with the smarts turned up and an ear turned to the lessons learned from post-punk (but crucially, not the ‘post-punk revival’ that is essentially shirtless beardy lads chanting non-sequiturs over landfill indie). Chiefly, it’ll make you wanna get out of your chair, unite your local community and march on down towards your government’s centre of operations with a simple-to-use molotov cocktail kit. Its rage is infectious. It’s inspired by bleak moments in our recent shared history, but it revels in humans’ capacity to find strength in each other. And the tunes? Oh damn, they’re good.' Will Fitzpatrick.

This classic power pop album from Berkeley, California's own, The
Rubinoos, is the follow-up to their self-titled debut album and proves that
the dreaded "sophomore slump" does not apply to them - It include the
hit, "I Wanna Be Your Boyfriend" This is the the second reissue, and the
fourth release, from the Rubinoos on Yep Roc Records

Seit Veröffentlichung einer ersten Single via Soundcloud in 2013 zählt sie in Großbritannien zu den meistbeachteten Newcomern: Holly "Låpsley" Fletcher. Ihre so eigenwillig wie traumwandlerisch arrangierte Musik zwischen Pop und schwebender Elektronik wird von den einschlägigen Gazetten sowie Radio-Stars wie BBC-DJ Zane Lowe über alle Maßen gelobt. Eine Berücksichtigung in der international renommierten "BBC Sound-Poll" ist da ganz folgerichtig. Mit ihrer ebenso verführerischen wie zerbrechlichen Stimme versteht es Låpsley auch live, restlos zu verzaubern - sei es auf der Glastonbury-"BBC Introducing"-Bühne, beim Reeperbahnfestival oder in Clubshows. Nach der 2015er-Single "Hurt Me", die sich in den deutschen Airplaycharts gut platzieren konnte, kommt pünktlich zum Jahresbeginn 2016 auch endlich ihr Debütalbum in die Läden. Produktionshilfe für "Long Way Home" leistete Rodaidh McDonald (Adele, The xx, Damon Albarn, Savages). Zwei Songs wurden mit Paul O'Duffy aufgenommen. Die erste Single-Auskopplung, "Love Is Blind", ist ein weiterer Fingerzeig dafür, dass Låpsleys Debüt eine neue Qualität an Tiefe und Wahrhaftigkeit in den elektronischen Pop einbringt.

1988 saw the release of several timeless and remarkable EPs from Nurse With Wound, one of those classics is Alas the Madonna Does Not Function. Madonna in some respect was a turning point for NWW. It's a record that whilst unmistakably retaining that ineffable NWW character brought rhythmic and almost 'musical' elements into play. Madonna could be seen along with the Soresucker and Cooloorta Moon EPs as the bridge between the old and the new, the natural precursors to Thunder Perfect Mind and Rock 'n Roll Station. Some 34 years later Madonna still sounds fresh and unique, a true one off, proving NWW to be one of the few genuinely enduring and uncompromising artists of their time. Added to this re-issue is the fan favourite I am the Poison. With its plodding cyclical bass, minimalist sound and distorted vocal lines it could be argued that Poison is a forgotten, yet divergent, post punk classic. Beautifully remastered by Andrew Liles. This arrives in a beautiful die-cut sleeve with Babs Santini artwork.

Repress !

Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project. After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Classic Black Vinyl, DL card. Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album 'The Metallic Index'. Taking further steps into their combined compositional universe with this follow-up to 2019's acclaimed Fehérlófia album. Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920's London, Fenella's niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely. Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom. "A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus

The trashed hotel room and communal living depicted on the cover of the J. Geils Band's sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean rock n' roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 numbered copies, Mobile Fidelity's 180g vinyl LP achieves a sonic acumen that brings you face-to-face with the sextet's white-hot instrumental prowess and magnetic personalities. It's always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band's trademark dynamics? Here, they feel like they're on the verge of exploding.

So go ahead. Twist the volume knob to the right as much as you want. You'll lose none of the focus, detail, placement, or presence no matter how high the decibels climb. The Morning After spills forth with previously unheard tonalities, ranging from the distinctive swells of Seth Justman's slow-burn organ to the live-wire spark of Geils' own downed-power-line-jumpy guitar work to the mooring hi-hat/cymbal/snare combinations of arrangement-steadying drummer Steven Bladd. Friends, this is raw rhythm n' blues, this is how it should feel, and, man, this is how it should sound.

Not for nothing did the Massachusetts-based collective name the album The Morning After. The music within doesn't abide by rules, ignores speed limits, flips the bird at curfews, and digs deep down into America's blues roots to yield organic material at once fresh, exciting, traditional, and original. The back-porch punch provided by the combination of "Magic Dick" Salwitz's searing, melodic, snake-like harmonica and vocalist Peter Wolf's animated, barely controlled deliveries is alone enough to make anyone with a faint pulse to stomp their feet, climb atop a kitchen table, and kick their boot heels until the neighbors call the cops.

Just witness the deceptive smoothness of the snake-like "So Sharp" or Maxwell Street zest of the aptly titled Magic Dick showcase "Whammer Jammer," which will leave you gasping for breath before it even ends. J. Geils Band also knew its way around deep-cut soul. The ensemble's Top 40, howling, adrenaline-to-the-heart rendition of the Valentinos' "Looking for a Love" and swirling, romantic take on Don Covay's "The Usual Place" seamlessly balance drive and emotion. Coupled with rafter-shaking originals such as "Floyd's Hotel" and the riff-propelled "I Don't Need You No More," sent up with typical Wolf vocal flair, and the record parks the band's all-night festivities and go-for-broke attitudes right on your front lawn.

One last word of warning to the uninitiated: The Morning After is not the slick-pop J. Geils Band of "Centerfold." And that is a very good thing.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

First time reissue of one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
Features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles… The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil.

For those into Milton Nascimento, Caetano Veloso, Arthur Verocai… 180g vinyl edition. First time reissue.

DESCRIPTION
This 1982 Chico Lessa album is one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
The arrangements on the beautiful ‘Choveu’ and ‘Me Pega, Me Larga’ can easily bring names like Verocai to your mind. No wonder the album features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles…
The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil. It has become a much sought-after album in recent times after being rediscovered by top collectors worldwide

Originally released 2020 on cassette and digitally.

Forged alone in a cave on the island of Java, and recorded in a fortress in Poland, Antonina Nowacka’s “Lamunan” is an intimate exploration of a mysterious darkness and the earliest of musical forms. Nowacka has co-created raw electronics and audiovisuals as half of WIDT and the enigmatic Mentos Gulgendo, but her solo practice focuses solely on the voice’s inherent connection to mental states, its ability to speak wordlessly, and the apparatus of speech itself – leading her to a six-month trip to study traditional music in Indonesia.

A day trip to visit a Javanese volcano turned into days of exploring, Nowacka eventually stumbling across a cave. “Rarely does anyone come there because Indonesians are afraid of the dark and the cave is poorly lit,” explains Nowacka. “I could sit there and sing for hours without feeling the passage of time.”

Hours spent in the dizzying darkness and echoes of Seplawan Cave produced a series of unaccompanied vocal motifs. Moans, chants, hums, and wordless cries met with the multi-million year-old facades of the stone walls. The freely flowing compositions seem forged from the same natural material as that stone, carved into shape by nothing but water, time, and solitude.

Upon returning to Poland, Nowacka recorded with Rafal Smoliński in the cave-like sonic conditions of the Modlin Fortress some 50km north of Warsaw. The intimate and surreal sound of the cave is recreated, Nowacka overlapping multiple vocal lines to create delicately interwoven chamber choral pieces, musically minimalist and emotionally maximalist. The album’s title – "Lamunan" – comes from the Indonesian word for ‘dreaming’ or ‘fantasy’.

2022 Repress

Calibre has gone through his hard drives, DAT tapes and even mini discs to find more gems for 'Shelflife 3'. Thirteen of his most
requested unreleased productions from 1997 to 2013 are now released on Vinyl, CD and Digital formats. Please note the vinyl format is pressed on 3X12' vinyl with the 13 track CD shrink wrapped. Mistajam 'Brilliant, brilliant, brilliant!' Doc Scott '10/10 Doesn't get better than this' TC '10/10 Need a moment to take this in! So Good!'Noisia 'Smooth as ever. Love it!'
Recent Calibre live mix for Mixmag:

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

Experimental - Ambient - Tribal Ambient Mathias Delplanque was born in 1973 in Ouagadougou, Burkina Faso. He lives and works in Nantes and cultivates close links with the spheres of ambient, electronic, electro-acoustic and concrete music as well as dub and field recording. A rather elusive character, discreet but prolific, who can be found in the credits of dDamage or Ghislain Poirier's records as well as behind the mixing board for Charlélie Couture, when he doesn't have fun under the name of Lena releasing fabulous minimal dub albums on excellent labels such as Belgian Quatermass.Mathias Delplanque is also known for his ex- cursions as well as for his collaborations with various musicians using traditional instruments: the Korean E'Joung-Ju (geomungo player in the Keda duo), or the Nazairian François Robin (veuze, duduk and mizmar player).

Released on the heels of her breakthrough album Tapestry, Carole King's Music is every bit the equal of its more famous predecessor: a No. 1 smash that features impeccable songwriting, beautiful melodies, and extraordinary piano playing. In short, everything that's made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has been given the audiophile treatment it's long deserved.

Sourced from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180g LP of King's second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album as King's familiar voice, intelligent arrangements, and ace support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of the depth of King's inspirational lyrics and performances will doubtlessly increase — this reissue brings you that much closer.

Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a multitude of other professional wind musicians, King delves further into R&B and jazz-derived pop. Warm and cohesive, songs echo with simplicity and honesty. And as is typical of much of King's work, several of tunes here were later covered by other artists, including "It's Going To Take Some Time" (the Carpenters). Yet the originals trump the later renditions, and King's rendition of the standard "Some Kind of Wonderful" stands among the best ever recorded.

With Taylor lending more of a hand on Music than he does on Tapestry, King expands her reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway ("Surely"), gospel raises spirits ("Brighter"), and backup vocals float amid pop arrangements like clouds ("Song of Long Ago"). The most irresistible aspect? King's voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.

Mobile Fidelity's 180g LP is free of the limiting artifacts that have helped keep this record in the dark for the better part of the 80s, 90s, and early 2000s. Acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and King's voice —pleasant, assuring, emotional — comes through with incredible clarity and inflection. The brilliance of Lou Adler's original production is restored to its full glory.

Aptly named, this companion to Tapestry is an aural and sonic delight.

James Taylor's best-selling record since 1970's hallmark Sweet Baby James, the triple-platinum JT takes its permanent place as one of the singer's most enduring albums — an affair that gorges on country, blues, and rock styles as well as incisive songwriting. As the pre-eminent singer-songwriter's Columbia debut, it catapulted Taylor back into the limelight and re-established his place as the era's leading-edge folk-rock troubadour.

Sourced from the original analog master tapes and pressed at RTI, Mobile Fidelity's numbered-edition 180g LP possesses a warmth, immediacy, and intimacy absent from other pressings. The singer's comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room. Similarly, the splendid array of backing instrumentation is balanced, vivid, and dynamic. Taylor should always sound this realistic, warm, and lively.

More than any other of his records, JT features all sides of Taylor's lyrical persona. Optimistic, content material fills half of the 1977 set while Taylor reveals a darker, moodier identity on a number of songs that keep the 12-track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad "There We Are," praises the power of love on "Your Smiling Face," and enchants with the graceful "Secret O'Life."

In addition to channeling domestic bliss, Taylor expresses surprise and cynicism on "Honey Don't Leave L.A.," delves into despair on "Another Grey Morning," and invites sardonic tones on "Bartender's Blues." The result is a complete picture of an extraordinary songwriter and an accurate sketch of the mixed emotions many of us feel when it comes to romance. Taylor's ability to capture deep-seated feelings and set them to lyrical and musical poetry explains why we relate to him on such a meta-level. It's also why his music, including JT, remains timeless.

Taylor doesn't do it all alone. JT benefits from an all-star support cast. Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and arranger David Campbell oversees the strings and woodwinds. It's no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylor's finest.

Whether you've never heard this record or know it inside and out, this reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities. Taylor's funky rhythms, too, gain in stature, as does his command of pace and tempo.

1971 entstand unter der Leitung von Jürgen Dollase, der auch alle Titel komponierte, dieses Album, welches 1972 veröffentlicht wurde. Aufgenommen wurde in den Dierks Studios durch Dieter Dierks selbst. Dollase und der Schlagzeuger Harald Grosskopf waren später auch Mitglieder der legendären Cosmic Jokers. Das Debütalbum wurde von treuen Krautrock Fans eher im Bereich des Progressiv Rock verortet, womit sie dem Album nicht wirklich gerecht wurden. Opulente langatmige Werke wie Lunetic mit einer Spieldauer von 12 Minuten zählen heute zu den Highlights dessen was unter Krautrock zusammengefasst wird. Von den originalen analog Bändern transferiert und sorgfältig remastert, ohne den Charakter der Aufnahmen zu zerstören. Absolut hörenswert! ENG In 1971, under the direction of Jürgen Dollase, who also composed all the tracks, this album was recorded and finally released in 1972. It was recorded at Dierks Studios by Dieter Dierks himself. Dollase and drummer Harald Grosskopf were later also members of the legendary Cosmic Jokers. Loyal Krautrock fans labelled this album as Progressive Rock - but that doesn't really do justice. Opulent, lengthy works like Lunetic with a playing time of 12 minutes are today among the highlights of what is summarized as Krautrock. Transferred from the original analog tapes and carefully remastered without destroying the character of the recordings. Absolutely worth listening to!

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry

10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

Tired of the crazy pandemic lockdown time, we've got another Bourassa release.

Smolny, who recently debuted with the song 'Secret' on the PLUR vol.4 compilation for Lobster Theremin, returns to his label this time with the 'Magic Series' of 4 beautiful rave tracks from the 90s.

The A side offers two wonderful classic old school jungle sounds, which recall the crazy times of that golden era. Cheerful pianos and twisted well-known vocals take us into a magical world.

On the other side, 'Fantasy' and 'Euphoria' at a slightly faster pace of 140 bpm, brings us killin' happy hardcore vibes. Who doesn't remember the epic sample 'Can't beat the system'? Used again in the 'Fantasy' with the new arrangement will definitely destroy the dancefloor on more than one occasion.

repress !

Wax’o Paradiso Recordings presents its debut outing on vinyl, OK EG’s Intertidal Zone EP. The new label from the long standing Naarm (Melbourne) party is set to explore hi-fidelity, landscape-driven and cerebral music from the antipodes and beyond.

After sold out pressings on local imprints Animalia and Steeplejack, this EP explores a more contemplative side of OK EG, suitable for discerning dancefloors and meditative home listening alike.

Conceived in 2019 and completed in 2020, Intertidal Zone was recorded in collaboration with percussionist Phil Stroud. The rhythm tracks are a fusion of drum machines and hand drums, loose percussion, human voices and tuned percussion immersed in water. Joined by analog synthesisers, layered vocals, processed guitar and field recordings, the music evokes solastalgia and a reverence for nature.

The final track, Golden Hour, came from an improvisation with multi-instrumentalist Adam Halliwell on flute and jazz musician Jack Doepel on Korg bass, later transposed to modular synthesiser.

Wax’o Paradiso and OK EG acknowledge the traditional owners of the land on which this music was recorded, the Wurundjeri people of the Kulin nation, and pay their respects to elders past, present and emerging.

Staging an attempt to gloss their music, Gentle Stranger
say it recalls “throwing a bouncy ball into a hall of mirrors.”
It’s telling that normal routes of describing music - your
typical band boilerplate of “such and such meets such and
such” or “we just play guitar, us, and leave the writing up to
you” - doesn’t suffice for the London collective; instead a
more arcane, more potent image is fired back, a wonky
and poetic idea that’s instantly more arresting, more
substantial.
For the newly initiated, Gentle Stranger are a selfdescribed “post-clown” outfit that oscillate between musical
forms, achieving a bewildering, almost Joycean
experimental sweep; pastiche, parody, burlesque, earnest
composition, genre interrogation and progression - they
cover it all. Their renowned live performances see the trio
cycle through an arsenal of musical instruments,
apparatus, tackle, and stuff. The set (part of the reason for
their now cult-like following) hangs together intricately, a
fractal clockwork machine that relies on movement and
spatial-awareness as much as it does timing and
musicality.
Upon witnessing the Gentle Stranger live show (‘show’
here is most certainly in the theatrical, carnivalesque,
extravaganza sense of the word), it’s tempting to question
whether they could reiterate, reshape, and condense this
uniquely visual and visceral spectacle into recorded music
- and the answer is yes. The latest update of the Gentle
Stranger sound lands in the form of ‘Upon Return’, their
barnstorming third album.
Gentle Stranger reportedly enjoy “revelling in the
disarray” of ‘Upon Return’, this ornate and finely wrought
mind palace - it’s a riveting and often joyous experience
soundtracked by strange, strange, and stranger music.
Available on black vinyl LP.

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

Pollux - Locus

Pollux strikes again with this banger, a solid deep groove as we're used to, the drive in this one is really massive.

Lovely mysterious female vocals and a great solid melodic lead, all this in a wonderfull stunning atmosphere.

This track has got it all, great vibe, lush sound, a strong production.

Pollux & Faber - Pulse

With Pulse, the guys continue on the elan of predecessor Tam Unanimem, a "dark" deep bassline which reminds a bit to the classic "Barbarella" although it's different, but it's nice to have :)

An additional strong deep bass-melody and catchy lead are keeping "this whopper" going !

Leach - Cernunnos

No interduction needed for this guy who already earned his stripes with several releases. We go way back so we're very proud to have him and his newest track "Cernunnos" on Castor, a MASSIVE groove, nice build up & break with a great vocal. "Cernunnos" grabs hold of your attention and doesn’t let go ! Guaranteed Floorfiller !!!

Pollux - Restless

This one's got that typical "Pollux Sound", a pumping deep groove, a

heavenly arpeggiator and bombastic lead in a "Progressive" atmosphere, makes you long to dance ...

Keinemusik’s Reznik once again is pairing up with long time friend and kindred spirit Good Guy Mikesh to lay down One More EP. The like-titled A-side is captioned with the tagline „Let’s give it one more try.“ - emotively crooned by Mikesh himself. We’ve all said it at some point in our life’s, right? Be it over a post-breakup coffee with the ex, be it at the black jack-table, be it in an early stage of a juggle practice. And it might cross our minds even now in the DJ booth, loading this very tune onto the player, curious if its heartfelt yearning might resonate with the crowd. Chances are it’ll resonate quite well. This sensitive yet grooving, string and piano-kissed tune shows all qualities of a future anthem. And so does the B-side „Read The Room“ - yet another directive one should always be aware of, in or outside the DJ-booth. Chances are, with this übermelodic, suspenseful, synth-hook-laden choon it’ll be almost impossible to misread the dancefloor. The vinyl version of this release comes with one exclusive bonus track.

repressed !

Emotional Rescue reaches ten releases and their second to be defined as a "cosmic classic" though that doesn't really do The Dream by The Ganges Orchestra full justice. Discovered and championed by a young Daniele Baldelli, The Dream mixed duggis, shenai, tabla, conga and guitar through Indian raga and European rhythm structures to create a unique musical vision. Long known to more open minded collectors and DJs, the whole EP has long been sought after and staple of many sunset and sunrise experiences. For this reissue, Emotional Rescue take it further with a longer version, previously unreleased track "The Calling" which is essentially an ambient version of "The Dream" and has been extended especially for this release by The Invisible Hands. In addition they also provide a short edit of the original releases 24 minute epic "Meditasian".

limited 500 copies

Bootsy Collins' latest album 'Power of the One' was a real doozy and now it gets picked apart for some special 7"s on Japan's P-Vine. 'Hip-Hop Lollipop' (feat. Fantaazma) sees Bootsy doing what he does best, grooving, funking and bring some big fun to the funk. It is a remake of 'Club Funkateers' from the album with German Fantaazma that was first dropped on streaming services to mark Black History Month earlier this year. On the flip is 'Bewise' (FredWreck Remix) which was a Japan-exclusive CD bonus track when the album first dropped. It's a tight funk offering with West-coast production.

Soft Raw is a new label from Danielle – a natural extension of the Bristol-based DJ’s expansive tastes within contemporary club music. Over the past few years the NTS resident has become a leading light in the multifaceted world of modernist techno abstractions, ably balancing soundsystem pressure and propulsive rhythmic intensity with experimental textures and explorative energy variations. Soft Raw seeks to continue that mission with releases which will progress stylistically from one approach to another, taking in exciting, emergent producers unique in their approach but bound together by the idiosyncratic curation of Danielle – a faithful reflection of her proven skill as a selector.

The label launches with a six-track drop from Slacker. Sam Black has been winding up a potent strain of needlepoint techno which leans towards jungle and half-time D&B in its tempo and structure. Across a selection of various releases, Black’s sound has evolved into an accomplished and detailed style which draws on moody atmospheres and advanced engineering in the grand tradition of UK soundsystem music. Across this EP the Slacker sound matches up to the spirit of Soft Raw, balancing fierce kinetic energy with delicacy and finesse and leaving some space for outright ambience. At times he locks into a half-step warm-up mode, while elsewhere the amens creep in for a more pronounced jungle rinse-out.

It’s a strong opening statement for this new label, but crucially this doesn’t spell out the future in absolute terms. True to Danielle’s broad outlook, subsequent releases are set to take in everything from straight up 4/4 and acid to footwork and electro, with a narrative binding each release together according to her internal logic and the tension between soft and raw qualities explored across consistently cutting-edge tracks.

From the success of "Thrive" which was released on a 7" vinyl by LRK Records and sold out in a day. Comes a brand new single "Long Gone "

Toronto based retro-soul artist Claire Davis serves up her latest soulful banger "Long Gone" from forthcoming 7" vinyl release on LRK Records. A jewel of Canada's Soul scene, Claire Davis takes it up a notch and showcases her mighty vocals on the fiery breakup single "Long Gone". Drawing from her influences of the likes of Etta James and Sharon Jones & the Dap-Kings, the unrelenting rhythm and sassy background vocalsof this track complement the "take-no-mess" message of Davis' lyrics and vocal delivery. A song about knowing your worth and walking away from those who don't! Claire Davis is an analog enthusiast, opting to record to tape whenever possible to best capture the feel and energy of a live performance and this single does not disappoint. The track was co-written by Toronto based artist Kyla Charter and producer Scott McCannell whom Davis has excitedly collaborated with for years on various other projects in Toronto's R&B/Soul scene. The saucy background vocal arrangement from composer/arranger La-Nai Gabriel provided the icing on the cake for this record which features dynamic background vocals from Joanna Mohammed, Tegan Michelle Gordon, and Chynna Lewis.


Jazzfm have listed the single "Long Gone" on their B list playlist

In the official retro soul spotify playlist

CBC gave it a spin on "Big city small world" by Errol Nazareth

"Times Have Changed" was added as brekkie track of the week and added to the C list on Jazz Fm

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-TRAX.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.

Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-TRAX is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro.
For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-TRAX found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form.
As usual with U-TRAX, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'.
Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes.
Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys.
The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.








h 08: Hit Me (w1b0's Slugfest Assault Dub) feat. Mr Joe Abe