Search:drum n bass

Adam Cook aka Tommy Rawson returns to Bergerac with another killer EP of uplifting, tropical deep house, broken beat and Brit funk vibes. Following on from 2018s Gilles Peterson hammered 'Deep Blue' EP, he returns to Red Rack'ems Bergerac label with an absolutely killer 3 tracker which showcases the Watford, England based producers world class musical chops. Surely a contender for THE summer record with a sun kissed Brit funk A side which is tailor made for the WWFM and We Out Here crew. A tropical house and broken beat burner make up an equally strong flip. We are very happy (and relieved) to be presenting to you an absolutely belting EP of UK soulful dance music.

It's nothing short of a miracle that the A side track 'Illusions' has ever made it on to vinyl. Jonna from City Fly remembers 'Adam had this on a CDR at Southport in 2008 and it became our official track of the festival as we all partied together the whole weekend it got played again and again back at our Chalet parties'. But then as these things often sadly go, the funk diamond was lost for a few years in the digital ether. Fast forward to 2014 and Danny Berman aka Red Rack'em is playing a 320 of 'Illusions' everywhere but alas it's just a demo and Adam can't locate the arrangement to complete the track as it's on a broken computer in his Mums attic.

Then finally this year, after many pleading emails and plenty of gentle cajoling, there's some amazing news! Adam has located the broken computer and after a day of digital open heart surgery, and then a re-edit over Zoom (no really) we finally had the killer, classic UK soulful anthem you're listening to today. A voice over from a disco documentary cleverly introduces each instrument on the intro before Tommy pushes the button marked 'biggest bassline of the year' and takes us into boogie heaven.

'Sound Crazy' on the flip is another one of those classic Afrobeat tinged Tommy rollers. Big room vibes but with a lot of soul. Rolling broken drums and a huge bassline combine with plenty of spicy, tropical atmosphere on top. The trademark Rawson uplifting chords begin after an anticipatory vibe filled breakdown, taking you to the stratosphere.

'Ads Mood' is the most 'classical' broken beat track on the record, but they are all playable in multiple environments and transcend mere genres. Heavy bass and extra funky syncopated beats climax into a beautiful almost orchestral feel to close off an exemplary EP of higher quality moods and emotions. Don't sleep.

Contemporary hard driven Jazz Funk from the north of England. Bee To The Flower, initially released under the influence of Newcastle’s finest Warr
Thompson in a much slower and kind of stepped down version has been rearranged and recorded again by the band expressly for Tesla Groove Internation
at the Loft Studios. We have been on this project for a long while and the biggest thing we blame covid for is the goddamn delay it forced into t
development of artistic projects, of which the physical final release is only the latest of the steps. Driving (and very creative) basslines, a beautiful and almo
psychedelic Fender Rhodes intercalate with a vibrafone played with such a mastery I could only remind of thegreat Pharoah Sanders at the time of h
performances with Lonnie Liston Smith and Nathaniel Betties, one of the greatest afro percussionists of all times. All of this on such a hitting drumming I ju
can’t wait to fire it out of a proper soundsystem. Created in 2011 by north-east based Dave Wilde and Chris Jelly, the original jazz/funk fusion sounds of th
seven piece Newcastle based band have carved a niche as some of the finest exponents of the genre in the UK. The band has given exciting dance induci
live performances up and down the country, at Band on the Wall, Hoochie Coochie and many more, supporting the likes of Craig Charles, Roy Ayers an
Lonnie Liston Smith along the way. New material has been in the making for quite a while, but after the enforced lockdown, King Bee are ready to release th
latest recordings at long last. Worth waiting for.

Samosa Records releases are coming thick and fast in what could be their finest year yet. Lex & Locke are the latest talent to make their Samosa debut with their ‘Pacifica’ EP – a sublime three tracker which is mouth watering from the off.

First up is Balandra. From the moment you hear the raw four to the floor drumbeat, you’re under its spell. The infectious bass riff moves the scenery around a little, whilst the subtle bongo attack teases what’s to come. And what’s coming is a funky, rolling cosmic lead synth that has no right to sound that damn sexy, no right at all. The vibe quickly grows into an interstellar journey, aided by an outrageously funky clav jam that gets inside your head. Balandra feels like the soundtrack to an ‘after dark’ undercover stakeout in a 1970s cop thriller. Detectives Lex & Locke are on the case and the evidence is compelling. A unique, 122bpm funk bomb which has the Samosa fingerprints all over it.

A2 is Cabo Pulmo – continuing the vibe of Balandra, Lex & Locke lay down some serious grooves in what initially sounds like a live funk band jamming away in the studio without a care in the world. No soon as we get into the beat and the bass, there’s an immediate switch to a swirling, bold cocktail of funk infused with a touch of jazz that belies the 124bpm tempo. The production is expertly tight; layers of synth, electric organ and punchy guitar riffs make this ideal for both the sun terrace and the dance floor. You’re under arrest, and Lex & Locke are reading you your rights!

The final track, Nine Palms has a real quirky, almost broken beat feel to it with its high-hat ride pattern and punchy bass drum. A wickedly twisted analogue organ riff is quickly introduced, which is cleverly used as both a rhythm device and the melodic platform that sets up the whole track. Lex & Locke seem to be total masters of a ‘free-style funky synth lead’, and we’re treated to another slice of this particularly tasty pie in ‘Nine Palms’. Whereas Balandra is the late-night stake-out, Nine Palms is the final act where Lex & Locke high five each other following another successful bust.

The Pacifica EP has a wonderfully intimate and assured vibe about it and is sure to feature in many a summer soundtrack. This release also proves that Samosa Records aren’t afraid to go off the beaten path occasionally - and when it’s this good we’re more than happy to follow. Grab this amazing cut of wax while you can!

"Red Rocks 2020 covers an amazing range of music from Rateliff’s celebrated career, music that had never been performed together live before the ill-fated tour including several jewels from And It’s Still Alright, and Rateliff solo albums, In Memory of Loss, Falling Faster Than You Can Run and the Shroud EP, along with “Still Out There Running,” a haunting and urgent track from 2018’s much loved Night Sweats LP, Tearing at the Seams.
The stellar cast of musicians includes Rateliff (guitar) with fellow Night Sweats Joseph Pope III (bass), Mark Shusterman (keys), Patrick Meese (drums, keys, guitar) and Luke Mossman (guitar), along with James Barone (drums, guitar), Joy Adams (cello), Rachel Sliker (viola), Adrienne Short (violin), and Chris Jusell (violin).
In addition, close friend Kevin Morby joins Rateliff and the band here for an amazing version of Leonard Cohen’s “There Is A War”."

 On ‘Phantom Rhythm’, Gong Gong Gong’s raucous debut, the
minimalist Beijing duo created a drummer-less sound that was
more than the sum of its parts, inspired by back-porch blues,
Sahelian guitar music, New York no-wave, Cantonese lion
dance percussion and, seemingly most incongruously, techno.
 With ‘Phantom Rhythm Remixed’, Gong Gong Gong bring to life
a concept they’ve planned since the release of their acclaimed
first album, curating their favourite China-connected electronic
music producers to remix ‘Phantom Rhythm’ in its entirety.
 The globe-spanning collaboration features Yu Su (Vancouver /
Kaifeng), Zaliva-D, Simon Frank, Howie Lee (Beijing), Mong
Tong, Scattered Purgatory (Taipei), Knopha (Xiamen), Wu
Zhuoling (Chengdu), Angel Wei (Copenhagen) and P.E.
(Brooklyn).
 The album traces a common thread, organically expanding the
palette of Gong Gong Gong into ambient club tracks, thumping
dance music, cinematic soundscapes and doomy, bit-crushed
psych.
 Gong Gong Gong are the duo of Tom Ng and Joshua Frank.
Formed in 2015 in Beijing, China, they make music from the
sparest of means: one guitar and one bass, interweaving riffs to
create forward-charging, drumerless grooves. Their inspirations
extend from Bo Diddley to African and Southeast Asian folk
music, psychedelic drone and the structures of electronic music.
 “A couple of misfits and a brash bouquet of sound” - Pitchfork
 “Spare and savage” - The New Yorker
 “String-focused, hypnotic, spitfire tracks” - Stereogum
 “A rare kind of intimacy you don’t often find with driving,
ramshackle funk” - Loud And Quiet
 “Depending on your ear, the Beijing-based guitar-and-bass duo
could sound like The Feelies’ stuttering post-punk, Bo Diddley’s
rock and roll boogie or Tinariwen’s droning desert blues” - NPR

Recorded in the spring of 2010 and then mysteriously abandoned by Prince before its release, the statement album Welcome 2 America documents Prince’s concerns, hopes, and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice. The album features some of Prince’s only studio collaborations with the bassist Tal Wilkenfeld, drummer Chris Coleman, and engineer Jason Agel, with additional contributions from New Power Generation singers Shelby J, Liv Warfield, and Elisa Fiorillo and keyboardist Morris Hayes, who Prince also recruited to co-produce the album. The vinyl edition has the 12 songs spread across three sides on 2 LPs in gorgeous gatefold packaging, with a custom etching on the fourth side.

Green Vinyl

Dutch hardcore hip hop crew Dope D.O.D teams up with Italian hard Drum & Bass duo Shadow Sect for a solo track and a remix with Hallucinator.

Marillion released its studio album debut, Script for a Jester’s Tear, in March 1983. The record was certified platinum in the band’s native U.K. where it reached number seven on the Albums Chart and spawned two Top 40 singles: He Knows You Know (#35) and Garden Party (#16).

Originally produced by Nick Tauber, Script for a Jester’s Tear is the only Marillion album to feature Fish (vocals), Steve Rothery (guitar), Pete Trewavas (bass), Mark Kelly (keyboards) and Mick Pointer (drums). Script For A Jester’s Tear (2020 Stereo Remix) opens with a newly remixed stereo version of Script for a Jester’s Tear by Andy Bradfield and Avril Mackintosh and features the singles Garden Party and He Knows You Know.

Golden Earring were active for 50 years from 1961 until 2021. Their final line-up still included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone), a member since 1968, and Cesar Zuiderwijk (drums), a member since 1970. They have had over 40 hits and 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single “Radar Love” and their 1982 single “Twilight Zone”.

To The Hilt was released in 1976 and is considered to be one of their most complex albums. More than half of the songs are over 7 minutes long and musically the songs are very diverse. It is the last record that features Robert Jan Stips on keyboards. This reissue will come with a gatefold sleeve.

The album is available as a limited edition of 1500 individually numbered copies on silver coloured vinyl, and includes an insert.

Celebrating 10 years since his first album, Tom Williams releases his most
eclectic project to date. ‘Follow The Leader’ represents a departure from
his previous output, and is comprised of a collection of songs which
comment on pre- and post-lockdown life, providing beautifully crafted
snapshots of modern Britain.
Having released six studio albums to date, Tom Williams has built a passionate
fanbase of discerning music lovers since his first album, Tom Williams & The
Boat’s ‘Too Slow’ ten years ago.
His 2017 album ‘All Change’ was voted by BBC 6 Music Recommends as one of
their Top Ten Albums Of The Year, and his last album 2019’s ‘What Did You Want
To Be?’ which was produced by Tim Rice-Oxley, was described by The Guardian
as “surging, vintage pop-rock” and championed extensively by Jo Whiley at BBC
Radio 2, Steve Lamacq and Lauren Laverne at BBC 6 Music, Huw Stephens at
Radio 1, Q Magazine and Clash. ‘Follow The Leader’ signifies a departure from
Williams’ previous output.
Self-produced, the album boasts rich orchestral sounds and full band performances, mixed with claustrophobic drum machines, synthesizers and deep sub
bass sounds.

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Avant-garde jazz drummer Rashied Ali played with John Coltrane up until his death in 1967, appearing on final recordings like The Olatunji Concert and Interstellar Space. After Coltrane's death, Ali soon formed his own quartet, with Fred Simmons on piano, Stafford James on bass violin and Carlos Ward on alto sax and flute. The quartet's first release, New Directions In Modern Music, released on Ali's own Survival Records in 1973, exploded onto the free jazz scene, influencing the likes of Don Cherry and Archie Shepp (as well as many outside the jazz idiom), becoming a kind of manifesto for avant-garde music of the period.

Following on from their 'Junction EP' at the tail end of last year, My Nu Leng return to provide a selection of rave-tinged cuts that further cement their status as one of the leaders in the bass music scene. Following a packed-out summer tour diary, the 'Alter EP' consolidates elements from the duo's previous releases and influences into five tracks of low-end damage. Harking back to the pair's underground roots with inspirations from Techno, House and Breakbeat, opener 'Spaced' sets the tone.

Featuring their classic bass growls amongst hardcore pad stabs, an acid-esque synth line and raucous interjections from legendary drum & bass MC GQ, this one's designed to make you move. Takura returns to Maraki on 'Echoes', lending his distinctive vocals over a lethal distorted bassline and uncompromising 2-step beat. 'City Lights' provides momentary respite, a scintillating arpeggio motif over blissful chords and an enchanting vocal hook. My Nu Leng team up with DRS on 'Sinking Sand'. The Mancunian host leads the charge into a warping climax, showcasing his penmanship through relentless triplet flow. 'Signal' closes off the EP in sombre fashion, atmospheric synths and lamenting strings building into an emotive vocal and reflective bassline.

Available on CD and 180gram heavyweight gatefold LP.
Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family's legacy to new heights as arguably Mauritania's most widely exported musical act of all time.
Arbina is Noura Mint Seymali's second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief, soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself, music of the "Azawan."

Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali's tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit's (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut.
Many of the songs on Arbina call out to the divine, asking for grace and protection. "Arbina" is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout.

Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told.

After two stellar Split EPs with Das Komplex, Brazilian sound wizard ROTCIV delivers his first Solo EP on Luv Shack Records. With 4 intricate original cuts and a Massimiliano Pagliara remix, the Elev8tion EP is a bold testament to modern EBM.

The titular track sets the stage with a firework of dramatic synths, brash elektro beats and a fluttering acid line, finding a perfect balance between dancefloor appeal and leftfield quirkiness.

Italian maestro Massimiliano Pagliara remixes "Elev8tion" in a straightforward fashion, opting for a percussion heavy drummachine pattern, a driving bassline and additional synth melodies, yet incorporating the original 303 to great effect.

On "Unbelievable", ROTCIV lays out a complex carpet of alternating arpeggios, heavily automated synth melodies and an array of weird vocal snippets, atop a minimalistic electronic drum track. "Muquifo", which literally translates to flophouse or dump (or shack?), is a slow burning breakbeat track with eerie strings and tripped out acid melodics, making it a hot contender for future afterhours.

"The Morning After" is a similarly low slung track, with a broken beat and a distinct industrial flair, yet the synth melodies strike a more hopeful chord and have an almost

Para One presents " Sundial ", the third extract from his new album SPECTRE: Machines of Loving Grace. After " Shin Sekai " and its commanding choir and drums, the chilling skies of " Alpes ", the producer points his arrow towards the heart. The track goes only up, from its hopeful arpeggio, a melodic bassline building higher floors, towering with layers of direct yet fine drawn synth chords. " Sundial " is wide and intimate, nostalgic, and confident at the same time.

The " Sundial " EP offers 3 remixes. Hot Chip draw first with a dance floor ready version, adding their own signature riffs and textures to the original canvas. The " Nodandanintheokotantan Mix " by England born / Berlin based Call Super chooses a playful replaying of the whole piece, changed into an array of micro percussions, reshaping the main melody from bits and pieces, until a plain piano enters the frame. Finally, Para One himself reworks " Sundial " and reveals even more the versatility of the original track, remodeling it into a manifest to dance, elastic beats and house music stabs in hand.

La Castanya is releasing “Gran Sur” on vinyl for the first time, originally released on CD in 2004. Very Limited/Non-Returnable.

Hello Cuca, inspired by the DIY philosophy and the Riot Grrrl movement, toured the United States with The Make Up (Dischord / K Records) and Spain with Bratmobile (Lookout! Records / Kill Rock Stars).

Hello Cuca released on vinyl a handful of EPs between the late nineties and the two thousands and then an album released on CD, Gran Sur, an out of print release right up until now that La Castanya is going to release it on vinyl for the first time.

In Gran Sur Lidia Damunt (the same Lidia Damunt who has now gone solo) was joint by her sister Mabel Damunt on the bass and Alfonso Melero (the same Alfonso Melero from Villarrobledo’s much-missed indie aristocracy) on drums. She sang Mabel’s lyrics about a place in-between the Spanish Levante Coast and the West Coast of the United States. A place for Mabel’s dream-theories about love and sisterhood and how we learn how to be people when we talk to each other, when a name is given to us, when we do things and let the others see we have done them.

There they were, and there they are still. Lidia shouting that madness of lyrics and
playing the guitar and Mabel and Alfonso doing their badaboom-badaboom from behind.
It was incredible to watch, it is irresistible, they are the best without question. I think a lot
about Hello Cuca. — Manolo Martínez, Astrud

The fourth full length album of Orchestra of Constants Distress Concerns marks the end of a quadruple suite of intense, dissonant, reluctant improvisation.

Looking back on five years of musical summits, which also has resulted in a couple of cassette releases and a live LP from Roadburn festival, one might wonder if these musicians have come to some form of insight.

Riffs seems to have deepened into complete compulsiveness as the rhythm from drummer Anders Bryngelsson (Brainbombs, No Balls) deliver both frustration and caution at the same time. Between the dissonant sounds of Henrik Rylander (Union Carbide Productions, Skull Defekts) and the choleric play style by guitarist Joachim Nordwall (Idealist, Skull Defekts) a way of emotional vacuity is spreading. With the phlegmatic and elemental bass of Henrik Andersson (visual artist) the music of OOCD is a montage of sound-scapes rather than the uniform of compositions.

Rather than seeking a musical presence through improvisation they seem to perform absence and void.

ORCHESTRA OF CONSTANT DISTRESS Are
Joachim Nordwall (The Skull Defekts, iDEAL Recordings) Anders Bryngelsson (Brainbombs, No Balls)
Henrik Rylander (The Skull Defekts, Union Carbide Productions) Henrik Andersson

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Mayan Space Station’ is his first electric guitar trio album, and features Parker
on bass, alongside Ava Mendoza (electric guitar), and Gerald Cleaver (drums).
Cosmic multi-hued blues, perfect for space and time travel. The unparalleled
rhythmic firmament created by Parker & Cleaver is matched by Mendoza in full
flight. All of the promise imagined by a trio recording of these musicians with
compositions by Parker is delivered to the fullest.
Mendoza’s prodigious talents have illuminated many projects and recordings
as both leader and collaborator over the past decade. As is certainly clear here,
she is committed to bringing expressivity, energy and a wide sonic range to the
music. Gerald Cleaver is an exceptionally gifted poet of drum sound who can
play in the deepest of pockets and manifest all manner of sound to perfectly fit
contours within the most open of forms.
Cleaver & Parker have worked closely on numerous projects, notably within the
nonpareil full-improvising trio, Farmers By Nature, together with Craig Taborn.
William Parker is in vibrant grandmaster blossom here on double bass - in both
pizzicato & bow-as-prism modes.
William Parker: bass, compositions,
Ava Mendoza: electric guitar,
Gerald Cleaver: drums

Marta Gabriel is known as the front woman of heavy metal power force CRYSTAL VIPER, who recently released a brand new studio album, „The Cult”. Except that she’s a seasoned session musician, and either was a a guest on albums, or appeared on stage with acts as VADER, MANILLA ROAD, JACK STARR’S BURNING STARR, MAJESTY and WITCH CROSS. Technically, ”Metal Queens” is her first solo album, although it’s a very unusual release. „Metal Queens” is a celebration and tribute to female singers and female fronted heavy metal acts of the ‘80s. The original Metal Queens !. LINE UP: Marta Gabriel - lead and backing vocals, bass guitar Eric Juris - lead, rhythm and acoustic guitars, choirs Cederick Forsberg – drums and percussion, choirs SPECIAL GUESTS: John Gallagher (RAVEN) – bass guitar on ”My Angel” Harry Conklin (JAG PANZER) – vocals ”on «Light In The Dark” Todd Michael Hall (RIOT V) – vocals on ”Call Of The Wild”

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which
further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Painters Winter’ features the trio of Daniel Carter (reeds, trumpet, flute) William Parker (bass, trombonium, shakuhachi) and Hamid Drake (drums). Carter
& Parker have been perpetual space-ways traveling companions since first
meeting & immediately beginning to channel music together in early 1970s
NYC. Here, Carter again brings the full assembly of instruments he has for decades been a master of: trumpet, alto & tenor saxophones, clarinet and flute.
Likewise, Hamid Drake is a musician’s musician; one of the most in-demand
drummers in the world. He is in command of a vast lexicon of drum languages,
learned and absorbed directly. His frequent flyer miles could get him a ticket to Saturn and back. Drake & Parker launched their devoted “two-man big
band” partnership in 2000 and haven’t stopped since. In trio with Daniel Carter,
they’ve created one previous album together, ‘Painters Spring’, released that
same year.
Drake has made mention of his awe that William could pick up any new instrument and make beautiful music with it from jump. The title track of ‘Painters
Winter’ features Parker on trombonium, one of those many instruments that
he plays beautifully on. The track “Painted Scarf” features Parker on shakuhachi, upon which he has clearly become a master.
William Parker: bass, trombonium, shakuhachi
Daniel Carter: trumpet, alto & tenor saxophones, clarinet, flute
Hamid Drake: drums

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Hailing from Brownsville, Brooklyn Taphari got his start in the underground queer clubscenes of Bushwick. His live performances are explosive dance parties and an aggressivecall to action. Truly charismatic on stage, music is Taphari's most efficient means ofcommunication. He writes of his struggles as a young loner from the hood seeking asylum inlaughter, queer expression, hip-hop, and the internet. On 'Blind obedience' we find Taphari on a journey of self-actualization, transcending suffering through the power of self-love and authentic musical expression. this hard-hitting,confident debut centers the skilled rapper's syllable hopscotchover mutating beats. staying in a lane he's forged himself, therap alien's rage is explosive out the gate. on lead single "Table42" featuring seasoned rapper pink siifu, taphari sings of lostlove and the end of the world over drum 'N Bass beats. "Backsoon" featuring label mate Benét is a generous breath from thiskinetic collection of bangers.

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

Bella Union announce the release of Piroshka’s stunning second album,
‘Love Drips And Gathers’. The album builds on the acclaim of the band’s
2018 debut LP ‘Brickbat’ and the reputations of former members of Lush,
Moose, Elastica and Modern English.
Piroshka emerged in 2018, four individuals with distinct musical identities but
also overlapping histories - a combination that might have unsettled, or even
overwhelmed, some bands. But in their case, the bond only got stronger.
After ‘Brickbat’ explored social and political divisions by way of what MOJO
described as “Forceful, driving garage songs and dream-pop epics,” ‘Love
Drips And Gathers’ follows a more introspective line - the ties that bind us, as
lovers, parents, children, friends - to a suitably subtler, more ethereal sound,
whilst still revelling in energy and drama.
“If ‘Brickbat’ was our Britpop album, then ‘Love Drips And Gathers’ is
shoegaze!” reckons vocalist/guitarist Miki Berenyi, formerly of Lush, a band
that effortlessly bridged the two genres like no other. “It wasn’t intentional; we
just wanted a different focus. I’ve always seen debut albums as capturing a
band’s first moments, when you really have momentum, and then the second
album is the chance for a more thoughtful approach.”
Bassist Mick Conroy (Modern English) agrees. “‘Brickbat’ was a classic first
album; noisy and raucous. On ‘Love Drips And Gathers’, we’ve calmed down
and explored sounds, and space.”
The way ‘Love Drips And Gathers’ changes shape and dynamic is less a
reprise of Nineties Brit indie than a transformation into a more shivery, Euromantic version with glistening electronic filigrees. The opening ‘Hastings’ sets
the tone. Luminous drops of guitar underpin Miki’s becalmed vocal before
drums, bass and a Mellotron add pace while the decorative coda features
their old pal Terry Edwards on flugelhorn.
‘Love Drips And Gathers’ - named after a line in a Dylan Thomas poem - was
inspired by love, family, belonging, memory. Miki and Moose split the eight
lyrics, with some poignant overlaps here too. Miki’s ‘Loveable’ looks to
Moose; Moose’s ‘The Knife-Thrower’s Daughter’ looks to Miki but also their
daughter Stella and his sister Anna; an empathic, touching embrace of the
women in his life.
Staying within the family, Moose eulogises his late mother (the idyllic
childhood seaside trip of ‘Hastings 1973’) and father (the more conflicted
‘Scratching At The Lid’). On ‘V.O.’, Miki pays fond tribute to Vaughan Oliver,
4AD’s legendary in-house art director who died suddenly in December 2019
and who had a particularly close relationship with Lush during their time on
the label (like ‘Brickbat’, ‘Love Drips And Gathers’’ beautiful and enigmatic
artwork is by Vaughan’s former design partner Chris Bigg).
LP pressed on clear vinyl.

Originally released onPrivilege, a sub-label of Polydor, this soundtrack by free jazz saxophonist Marion Brown is almost impossible to find in its original pressing. Nowmore than fifty years later it is finally reissued, to the delight of free jazz enthusiasts and film music collectors.

By 1967, Brown, then aged 36, already had a very successful career in the United States, appearing on John Coltrane’s ‘Ascension’, Archie Shepp’s ‘Fire Music’, performing with Sun Ra and Pharoah Sanders and recorded several records under his name for renowned avant-gade jazz label ESP Disk.

That year, he however decided to move to Europe where he met with German saxophonist and vibraphonist Gunter Hamphel. Accompanied by Steve Mc-Call (drums and percussions), Barre Phillips (double bass), Alain Corneau (Cowbells) and Ambrose Jackson (trumpet), they recorded in 1969 in the legendary Parisian studio Davout, the soundtrack of the movie by Marcel Camus entitled

“Le temps fou”.

This film, which starred Nino Ferrer, was released in 1970 under the title “Un été sauvage” and unfortunately it did not make history in cinema. Fallen into oblivion, only his two original soundtracks (there is also a 7’’ with titles composed by Richard de Bordeaux and Daniel Beretta) are spreading the word.

George Otsuka (or Ohtsuka), sadly passed away in March 2020, was one of Japan’s most renowned jazz drummers. ‘Sea Breeze’, released in 1971on the Union label, is his first record in quintet formation and is reissued here on a single LP housed in a gatefold sleeve.

And we can say that George Otsuka knew how to surround himself: Shunzo Ohno is on trumpet and Flugelhorn, Takao Uematsu on tenor sax and soprano, Takashi Mizuhashi on bass and Hideo Ichikawa on electric piano.

If all the tracks on this album are solid, included the astonishing cover of “Fool on the Hill”, it is especially “Sea Breeze”, the eponymous track opening the album that will make an impression. A super and long jazz-funk track where the five musicians, in perfect osmosis, leave each other enough space to express the full extent of their talent.

Recent copies of the original vinyl,which were only released in Japan have sold for £200-300.

Multi-instrumentalist/vocalist Dan Friel is unrivaled in his capacity to inject blistering noise and energy into ferocious pop songs. A champion and mainstay of the NYC underground, Friel the has played alongside the likes of Lightning Bolt and Black Dice as well collaborated with acclaimed string quartet ETHEL. Upper Wilds channels Friel's unbreakably ebullient spirit into mountainous rock music dripping with molten fuzz. The trio's exploration of the interstellar expands in parallel to their increasing levels of bombast and precision. Venus synthesizes the experimentation of debut Guitar Module 2017 and the thunder of 2018's Mars into ten lean chunks of cosmic rock laden with scorching hooks. On Venus, Upper Wilds rocket lovestruck anthems centered around the planet named for the Roman goddess of love at full tilt from the moment "Love Song #1" makes liftoff. The album's incendiary opening trilogy crashes with a relentless vigor and addictive melodies. The rhythm section of bassist Jason Binnick (who also mixed the album) and drummer Jeff Ottenbacher tear through off-kilter riffs that pound with meteoric impact. Friel's guitar sputters and froths beneath his voice before soaring into frenetic leads that pack every moment with powerful melody. Alien croons and glitching spasms spill out of Friel's wild, filtered humming, amplified into oblivion. Venus' few moments of respite lay bare the raw efficiency and beauty of Friel's songwriting, like transmissions home to loved ones thousands of miles away slipping through the crackle and chaos of space. Venus traverses the havoc, mystery, and joy of humanity's countless follies in both space and love. Both cosmic and human, Venus is a deeply affecting celebration of the wonders of what is beyond comprehension internally and externally. Upper Wilds' Venus is an exhilarating odyssey of tremendous exuberance and a testament to human resilience in the face of the unknown.

The focus for this TLM 7" is on SofaTalk from Italy, on the A side we have a superb track called Organica with main man Piero Paolinelli on Roland V-Drum, Arp Odyssey and Juno 106 with Marcus Horndt on Fender Rhodes and Edoardo Ruzzi on the Electric Bass. On the AA side Piero goes solo for Untold Stories, another superb track highlighting Piero's talents. Piero runs his own label Cognitiva Records and has had releases on deepArtSounds and ANMA Records amongst others, we are very proud to have him onboard for this release.

L’objectif are schoolmates Saul Kane (vocals, guitar) and Louis Bullock (drums) – who first formed a band together at the age of 12 – Ezra Glennon (bass) and Dan Richardson (guitar).

With each member picking up instruments as children, the young friends – none of whom are over the age of 17 – have a shared love of genres and musicians that belies their tender age: jazz funk, hip-hop, punk, post-punk, and almost everything in between. Also inspired by painters Basquiat and Francis Bacon, L’objectif seek excitement in the intellectually stimulating and subjective; finding thrill in the confusion.

With Saul having spent lockdown cocooned away in Leeds writing and recording demo upon demo in his home studio, and the band as a whole constantly refining their sound, L’objectif are finally ready to spread their wings for the very first time with their incendiary debut single on Chess Club, ‘Drive In Mind’.

Shūko No Omit is a trio of Yonju Miyaoka on guitars and vocals, Yuya Oishi on drums, and Taiju Sugimori on bass: a classic framework for a rock band, and yet...

Led by Yonju Miyaoka, a young prolific musician from Osaka who lives with schizophrenia, Shūko No Omit could have found a home in the P.S.F. records catalogue curated by the late Hideo Ikeezumi, sitting alongside Go Hirano, Tori Kudo, Chie Mukai / Ché Shizu, and Kousokuya. Yonju Miyaoka's music seems haunted by the psychedelic rock of the late seventies, by its electric, solitary ghost minstrels, perhaps also inhabited by the impulsive riffs of no-wave.

His voice can sound slightly out of tune to the western ear, on the edge, and maybe this is what makes it so terribly moving. His guitar seems to be soaked in the same acid as poured out by the amplifiers of Keiji Haino or Takashi Mizutani, a mercurial grain, a wild and inhabited psychedelia. The compositions crawl towards their ends in a reptilian, winding way, in a mud of saturation and distortion, almost overlaying like tracing paper sheets, in a disordered manner. These six tracks evoke inner collapse, loss, expectations and oblivion.

Like his elders, Miyaoka shows a nonchalant, almost dilettantish way of building songs, preferring a chipped body, the trace of a conundrum disorder, to schoolboy academic perfection.

This album is a long improvisation with a punctured, dismembered body, thrown in here like a bucket full of viscera, and reassembled in an alternate fashion. Miyaoka lies there, naked.

Dissolution Sessions' is the first release by art punk rockers The Imbeciles since their well received eponymously named debut album earlier this year. The six-track EP
features a new band line up - and a different sound. 'We've slimmed down from a meandering, vegan, six member prog rock combo, to a tight-knit, guitar-led, steakeating 4-piece,' says lead Imbecile, Butch Dante. 'The guitar sound is fuzzy punk beast-master AF, and we like it.'
The band had originally gone into the studio earlier this year to record a radio session for 6Music. That ended up being cancelled because of the pandemic crisis. 'We
were there anyway so we started riffing on some new songs and everything came together real fast,' continues Butch. The result is three new songs and three new
versions of tracks that first appeared on the album. 'The music is still weird; but everything just gets to the point faster,' he adds. "You can hear that energy in 'Yes I
Am'; it's the sound of a band having fun being creative again after a difficult year.'
That particular new track is a Foo fighters/STP/Stooges-style banger, but played on Imbeciles terms - one note leads and guitar scrapes, with off beat stabs and a pop
punk drum track that pulls the whole together. And the overall vibe of the EP is a NSFW hybrid of 1979 London punk (Skids and Ruts), with second guitar stolen from
eighties Echo and Bunnymen and a leavening of Bauhaus art rock.
'Sunday Leaguer' was inspired by Butch's love of English football. The song is both a banging punk celebration of the beautiful game, and a lament to the gaping hole left
in peoples' lives when Coronavirus forced the cancellation of all football in March. As well as the Premier League, MotD and other football staples, the song also
celebrates the unsung legends of amateur Sunday League football. Dante, a Crystal Palace fan, enlists Palace's Holmesdale Fanatics on the track, who are heard chanting
'Eagles', while the video for the song pays tribute to the club's mascot, Keya, who sadly passed away this summer.
Charlie Conkers makes his debut on the EP as the band's drummer. 'He's young, good looking, and talented. It's quite annoying, actually,' Butch says. New lead guitarist
Stan Moseley makes a sideways move into the band from his previous role as The Imbecile's chief engineer and co-producer - the producer role now being occupied by
music legend, Youth, with whom the band has just started working on a new album, to be released in 2021.
'Having Youth involved as producer and co-writer is the most dope thing that has ever happened to the band,' says lead singer and bass player Kip Larson. 'Everyone is in
a super positive, hyper creative place right now and we can't wait to see what we come up with.'
So what about the name, Dissolution Sessions? Was it a nod to the pandemic, or a reference to the band breaking up and reforming again with its new members?
Neither, according to Butch. 'Kip was super hung over at the session. too many Dos Equis, yo. Hence: Dissolution Sessions.'

Most of these songs have not been heard until now. Formed in L.A.’s South Bay in 1978, DESCENDENTS began as a power trio featuring bassist Tony Lombardo,
drummer Bill Stevenson, and guitarist Frank Navetta (d. 2008).
The band recruited vocalist Milo Aukerman in 1980 and began establishing
themselves as major players in the Southern California Punk movement. Over
the years, the band has sustained a potent chemistry and shared vision, further
cementing them as punk legends.
In 2002, the original four-piece lineup Frank Navetta, Tony Lombardo, Bill
Stevenson, and Milo Aukerman got back into the studio to finally record their
first-ever songs. The songs were written by the band from 1977 through 1980,
before recording the Fat EP (1981) and the Milo Goes to College LP (1982).
Every element of DESCENDENTS’ genre-creating sound is here: Stevenson’s
hyper-caffeinated surf-beats, Lombardo’s intrepid bass, Navetta’s crunching attack, Aukerman’s impassioned, infinitely relatable singing and all those great
melodies and harmonies.

Emerging from an era of intense personal and collective change, Capstan
perfect their patented one-two punch of elite musicianship, battering ram
rhythms, off-kilter fret fireworks, and high-octane chantable choruses.
After amassing over 20 million-plus streams, the Florida five-piece Anthony DeMario vocals, Joe Mabry guitar, Harrison Bormann [guitar], Andrew “Bozz”
Bozymowski [bass, vocals], and Scott Fisher [drums] unleash a focused and furious firestorm of bop-level anthems on their second full-length offering, SEPARATE

"Emotional Rescue and HMV Record Shop (Japan) present the 2nd DISCO REGGAE LOVERS with the music of Haile Maskel and his 101 Band and their cult Jamaica meets America reggae disco bomb Crazy Kind Of Feeling, in it's super rare 7" Mix.

Heralding from the furtive 60's Trenchtown, Jamaica, Michael Ashley aka Haile Maskel grew up around music, recording his first sessions with friend Bob Marley, alongside the likes of Peter Tosh, Robbie Shakespeare and Carlton Barrett.

Working with Lee Perry, he joined Light Of Saba, while touring with Dennis Brown and Sugar Minott led him overseas, settling in Los Angeles in 1983 and soon launching his Opulence (Sound) label.

The label's in house project, Maskel's 101 Band mixed a conscious message in love song, crafted around a boogie discodub. Coming as 7" and 12" (ERC101) releases, here the single is presented alongside the true dub version.

Dub Take 2 was discovered when the original master tapes were recently unearthed and while the recent 12" reissue featured an "instrumental alternative mix", Dub Take 1, this 7" includes a real dub version, cutting and dropping back and forth between drums, bass, key, vocals and horns in a cool excursion for the heads."

The DISCO REGGAE LOVERS series reaches a zenith with the first ever reissue of Dambala and their beautiful reggae roots song Lorraine. Long a diggers secret, it seemed only apt to ask the DJ who brought it to the attention of many, with a wonderful dub by label stalwart, Lexx.

Born in Lagos, Nigera but growing up in the Harrow Road area of West London, Augustus "Gus" Anyia immersed himself in the music of area during the vibrant 60s awakening of African and Caribbean cultures. Learning drums as a boy, he quickly progressed to classical guitar and would perform at school and beyond.

Jamming with guitarist Alvin Christie led to them forming Dambala in 1975. Their first releases set them on their way, produced by Jimmy Lindsey, mixed by Dennis Bovell and cut by Porky. From there more singles followed, repeatedly touring Europe and recording for a TV documentary, before pressures took hold and following a change in line up, the band recorded their sole album, Azania.

Lorraine was the stand out, a wonderful love song of youth's forlorn love, it's warm drum and bass encompassing the yearning lyric. A small masterpiece of UK roots in it's own right, this special 7" comes with a simple, but perfect dub mix from Lexx and will be followed by a comprehensive reissue of Dambala by the label.

Emotional Rescue and HMV Record Shop (Japan) present Red Cloud and their roots disco rarity I Want To Be Free, with it's even scarcer dub version Freedom, together on 7" for the first time as part of the DISCO REGGAE LOVERS series.

This Brixton based band appeared on Emotional Rescue last summer with their Double Talk / Dubble Dub 12" (ERC102) rightly shining a light on their underrated output. Releasing on Tuff Gong, Red Stripe and Dancefloor the band released two albums and numerous singles of warm, rock-soul touched British roots sound system shakers.

I Want To Free / Freedom only appeared on the B-side of their super rare debut 12". While the A side's Double Talk was 'inna Lovers Disco style', here they keep the groove but explore the righteous stance of Pan African-Caribbean culture of the time, with a call for equality and fairness.

Centred around the writing of Keith Drummond and drummer / producer Specs Bifirimbi, plus support from founder Floyd Lloyd Seivright, it is in the dub version, Freedom, that the interplay of keys and drum and bass shine, a rock-reggae-disco bomb.

Clear Vinyl

Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

Berlin’s Philipp Priebe delivers the ‘Ectoplasmatic Friends’ EP via his Stólar imprint early December.
Since the launch of Philipp Priebe’s Stólar in March 2020, the label has set the tone for its sonic palette which leans towards emotive deep house, dubbed out techno and hypnotic electronica. So far the labels has stood as a platform for Priebe’s own material while welcoming remixes from the likes of Just Another Beat artists Kim Brown and
Osaka, Japan’s Metome. Here the story continues with a fresh EP pencilled for 12’’ release in December, again showcasing more of Priebe’s work with accompanying remixes courtesy of Tilman and Lifestyles.
The original mix of ‘Dial 7 For Ghost’ is up first, featuring a robust drum groove, swirling resonant licks and chanting voices before the latter stages ease in a warm, atmospheric chord sequences to carry out the composition. Fine regular Tilman follows next with his take on ‘Dial 7 For Ghosts’, taking things down a typically soul laden house direction from the German artist as he merges the original’s airy atmosphere and bumpy drums with vocal stabs and a classic house bass line.
Lifestyles interpretation of ‘Dial 7 For Ghosts’ follows on the b-side, employing amen breaks, tripped-out warbling effects on the original pad line and a dynamic feel. The second original, ‘An Image Slowly Fades’, then wraps up the EP with cinematic, melancholic synth textures, low-pitched ghostly vocals and low slung drums.

Whie Vinyl

TIP!!!

Berlin’s Pure Hate drops its first release for 2021 from Toronto’s MDD. The Consume + Impose EP consists of 3 original tracks with remixes from Swarm Intelligence & Mickey Nox.

MDD is a live performance and studio project created by Measure Divide and Dolgener.

Having released on HANDS, South London Analogue Material, Inner Surface Music and Drøne, MDD’s tough industrial infused rhythms oscillate frequencies ranging from the realm of techno to punk. On the performance front, each set is an improvisation of heavy drum grooves, edgy basslines and distorted elements.

No Pure Hate release would be complete without remixes and this time they welcome Swarm Intelligence & Mickey Nox to the label. A regular artist on 47, Swarm intelligence takes on lead track Apex Switch with his distorted broken beat style while S.L.A.M. & Perc Trax artist Mickey Nox hammers Hate Pusher squarely to the floor.