quête:dub one

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

Intangible Records presents The Seven Grand Housing Authority aka Terrence Parker - The Question incl. Underground Resistance & Octave One remixes!!!
This release came originally out on Simply Soul in 1993.
Don't miss this classic. Highy recommended!

DJ Support: Kerri Chandler, Prunk, M-High, Archie Hamilton, Mr.V, Alexi Delano, Laurent Garnier, Okain, Mystic Bill

Dutch House maestro Dennis Quin makes a welcome return to PIV this July with his ‘Treat You Right’ EP, comprising four originals, one of which features LA’s Cheshy on vocals. Over the past ten years Amsterdam’s Dennis Quin has moved from strength to strength and has become globally revered and respected for his raw and powerful productions, racking up releases on Cécille, Ibadan, Dungeon Meat, Eastenderz and of course the leading light of his hometown scene, PIV, where he returns with his latest EP.

Up first on the package is the original mix of title-cut ‘Treat You Right’ which sees Dennis team up with Los Angeles based Cheshy, delivering a composition that personifies the quintessential House sound, crisp 909 drums, fluttering stab sequences and a bumpy bass hook run in unison with Cheshy’s soulful vocal stylings, cinematic strings and shimmering synth lines. ‘Impressions’ follows next and showcases a different aesthetic with a swinging low-slung rhythm section, jazzy leads, marimba lines and bouncy subs to create a more Parisian deep house feel.

Further showcasing Quin’s dynamism as a producer ‘Touched’ then shifts up gears to a saturated skippy drum groove, vacillating synth stabs, a heavy dose of low-end drive and hypnotic vocal chants. Lastly to round out the release, Dennis offers up a ‘Classy Dub’ of the title-track, as the name would suggest stripping out a large portion of the vocals and reshaping the structure of some of the original elements and stirring some additional jazzy elements into the mix.

Emotional Rescue continues its love affair with Glen Ricks here by reissuing his solo debut release. 'Keep On Dancing' is a cult and hugely coveted cut that fuses disco and reggae in some style. Ricks had a first successful musical career in The Fabulous Flames then moved between Canada and Jamaica and eventually got stuck into music in earnest again in the Caribbean. He wrote this one with writer and producer Chris Stanley and it came out first on 7" in 1981, then on 12" a year later. It has a superbly soulful vocal and a groove full of subtle bump that is sure to bring joy to any dancefloor. Idjut Boys' Dan Tyler also adds his own spin under his NAD alias for a more heavy and dub-laden take.

Rub A Dub style classic from 1982.. so UK this one! Ranking Ann's wicked toast siting so well on the bonkers Mad Professor productions. Features studio contributions from a whole host of legends (Horsemouth, Jah Shaka, Garnett Cross & Audrey Donnegan to name a few)... TIP!

Everyone’s favourite Instagram music account is now a label!

Belters4u has been sharing a steady stream of forgotten club bangers over the past few years and now arrives with original material. The inaugural release sees Tre Turner serve up three belting hardware jams straddling 90s euro-house, trance and early prog with a subtle nod to Scotland’s notorious old-school rave scene.

First dropped by Job Jobse at last year’s Nachti Festival, title track" Can’t U Feel" is a feel-good party pumper resplendent with galloping euro bass, gated filter sweeps and catchy pitched vox destined for a festival near you. The two mixes of “Mixed Emotions” on the flip take a hazy, trancier path, keeping the emotion and euphoria running high.

Available on vinyl via One Eye Witness and digitally via all decent platforms.

The Remedy is a classic, soulful house bounce with glossy, sultry jazz infusions - peak Summertime vibes. I also pay tribute to my afro-electronic, percussive roots with Ritual which is the complete opposite of The Remedy. Ritual is mighty on the low end, it's seductive with hypnotic horns, an earth-shaking bass line and a rhythmic groove throughout. This track is an absolute weapon for the club :)

2024 Repress

In the midst of House music's burgeoning scene in 1986 Chicago, a young local DJ named Jonathan Gilbert, known as Scrappy, seized a golden opportunity to showcase his skills at the renowned Medusa's Club's video room. It was in 1987, one fateful night, when the main DJ failed to show up, that Gilbert stepped in, securing a residency at one of the city's hottest spots. As the year progressed, Gilbert ventured into music production, teaming up with The Boxx Boys--Jim Marcus and Van Christie, notable for their later formation of the iconic group Die Warzau. Their collaboration birthed the legendary acid house anthem from Chicago, "Freeze," which Gilbert released under his Zap Records label in 1988, solidifying his place in Chicago's music history. The track became a timeless favorite, and is often featured in Jerome Derradji's sets. With Scrappy's gracious consent, we have the privilege of reissuing this seminal track, along with delving into his archives to uncover previously unreleased gems and alternate versions from his Atlantic Records era around 1990. For a brief period, Scrappy rode the waves of Chicago's house scene with his distinctive flair before bidding farewell to pursue new horizons in California. Presented for the first time on Still Music, "Acid House + Medusa's - Chicago, 1987-1992" invites listeners on a journey through the vibrant tapestry of late-eighties Chicago House. DJing, indulgence, romance, and the pulsating beats of acid house defined Scrappy's era, and fortunately, he left behind a legacy of unforgettable house tunes, emblematic of the city's unparalleled musical spirit. This limited edition DLP release, accompanied by an insert detailing the captivating tale of one of Chicago's unsung talents, ensures that Scrappy's story and his contribution to the era remain etched in musical history.

‘Danse Cette Zik!’ by Parbleu is the debut LP from this enigmatic group of musicians and is a multi-cultural fever dream, wherein energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. Evocative instrumentals intertwine with breathtaking vocal performances, which move between sleepy-eyed soul serenades, mystical melodic chants, and expressive diva enchantments while pads swell in support—sometimes sparkling like ocean glass, other times raining down like a Morricone symphony.

Pianos and guitars converse via funk flourishes, reggae riffs, and jazz rock solos as blazing fusion synthesizers set the air aflame. Drums move between kinetic dancefloor urgency and islander rhythm relaxation and hand percussions both organic and electronic evoke rainforest ceremonials while basslines revel in 70s fusion fire and Italo synth-funk squelch. And the entire experience has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio, resulting in a thrilling adventure of imagined exotica, one equally adept at scoring coastal paradises, filmic deserts, riviera cruises, or nightclubs sweltering in the light of a mediterranean moon.

(Words by Octagon Eyes)

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

It’s been exactly a year since the 6th Borough boys emerged from their hiatus to bring us the Rhythm & Truth EP. This killer three tracker picked up where they left off and showed us that fans of deep, dusty, dubbed-out disco were as hungry as ever for new 6BP material and went on to garner praise from the likes of Jamie 3:26, Luke Solomun, Dam Swindle, Young Pulse and the Faith crew to name a few. Here on their follow up we’re treated to more of the good stuff and sees Craig Smith and Graeme ‘Revenge’ Clark whipping up four new cuts spanning speaker- wobbling sub-aquatic grooves and stripped back deep house.

One Way sets the tone with a subtle yet infectious percussive workout which is one of those mood setting tools which looks set to become a lot of DJ’s secret weapons this summer. Filtering strings and tweaked synths add that classic Chicago energy which won’t fail to get you locked into it’s groove. Spare Change treads a similar path but goes heavier on the echoing synth stabs and deep string pads proving that when the rhythm is rolling this nicely just let it roll.

Flip over for Backlash which takes us deeper still with lush chords and driving square wave bassline taking centre stage supported by an unrelent ing kick drum which helps to keep an intensity throughout the arrangement. Closing out the EP we have The Other, which sees 6BP dropping the BPM’s to create a low-slung slice of deep, underground house perfection.

Autorisierte Deluxe 2LP Ausgabe des von Henry 'Junjo' Lawes produzierten 'Evil Curse of the Vampires'.
Original Greensleeves zusammengestellter Dub-Klassiker, entscheidende Auswahl von Junjos klassischen, von Roots Radics angetriebenen Rhythmen, aufgenommen bei Channel One und gemischt von Scientist bei King Tubby's.
Das remasterte, ikonische Dub-Album ist jetzt mit einer zweiten Disc mit den Original-Vokalversionen versehen.
Streng limitierte einmalige Halloween-Pressung auf orangefarbenem Vinyl.

The first time we discovered Emanuel‘s voice was during the making of Pinnacle Sound‘s album Soul Medicine (BAT 007), it was in 2021. Some slaps leave a deep and indelible mark. We knew then that a new adventure was about to be born. Everything comes in time to those who wait, and what was supposed to happen happened: Emanuel contacted Bat Records for the realization of his new project. Nations Shall Know is the fruit of this meeting.

Emanuel & The Bionites are the many facets of one man. A diligent producer, it is with a selection of his best compositions that he knocks on the door of Bat Records to put his unique style on tape. The idea is clear, to produce a Showcase album: for each vocal, a dub mixed by the flagship duo Dub Shepherds. From a children’s song with soulful power in the introduction to “Arkitect“, to Africa as the central theme on “Imansion“, to the pure song of praise on “Jah Love“, through warm riddims carrying texts with apocalyptic resonances like on the title “Nations Shall Know”, there will be something for everyone.


And in discomix, ladies and gentlemen, following Emanuel‘s favourite format! Latest illustration of a rising figure of a certain Roots revival in Europe, this album will reconcile young zealous dubbers and old reggae backpackers.

a a1. Arkitect (Discomix) 8.25
[b] a2. Imansion (Discomix) [7.28]
[c] b1. Jah Love (Discomix) [8.26]
[7.42]

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Repress.

Welcome to “Through Lines”, a collection of hand picked tracks by genre nomad and bass innovator Martyn, made between 2005 and 2015, carefully recovered and remastered for vinyl and digital release on 3024. Previously only available on 12” across a scattering of different labels, this set includes essential ‘Martyn Music’ (as the producer likes to classify it); tracks like “Vancouver” (A 140 staple to this day), “Mega Drive Generation” and his classic remix of TRG’s “Broken Heart”, as well as deeper cuts like the rare “Friedrichstrasse” and house gem “For Lost Relatives”.

This is not just a compilation of remastered music, it’s a document of an era of UK inspired dance music where ideas, genres, tempos and scenes seemed to rapidly merge and splinter off. An exciting time where producers constantly tried to one-up each other with new ideas and influences, in a vibrant international scene of small club nights from FWD>> and DMZ in London to Red Zone (co-run by Martyn) in the periphery, the earliest online forums like Dubstepforum and radio shows like Dj Flight’s BBC 1xtra show and Mary Anne Hobbs’ Breezeblock. Innovation in music never happens in a vacuum and is always a product of community, producers, writers, and other makers continuously inspiring and pushing each other to come up with the next thing. This ethos is present in all of Martyn’s music throughout the years, but also in his work with Jeroen Erosie as 3024 and within the 3024 Mentoring Program he runs today.

Der aus Wien stammende und mittlerweile in Manchester beheimatete Produzent salute (Pronomen mittlerweile „him/ they“, folglich im Deutschen wieder Singular) kündigt sein kommendes Album, „TRUE MAGIC“, an, das am 12. Juli 2024 bei Ninja Tune erscheint. Auf dem kommenden Album von salute sind außerdem Disclosure, Empress Of, Karma Kid, Sam Gellaitry, piri, Léa Sen, LEILAH und Nakamura Minami vertreten.

Mit ästhetischer und auditiver Inspiration durch alte japanische Autowerbung, die salute stundenlang in YouTube-Archiven recherchierte, entwickelte er ein Konzept für das Album, bei dem sie den legendären 1985er Toyota MR 2 W1 in einem Rennen namens „TRUE MAGIC“ fahren. Dieses sehr visuelle Konzept half dabei, den Sound des Albums voranzutreiben und dem Album ein Gefühl von treibender Dynamik zu geben. Die Albumankündigung folgt auf seine allererste Nominierung bei den MOBO Awards 2024 in der Kategorie „Best Electronic/ Dance Act“ nach der Veröffentlichung von salutes EP, „Shield“, die von The FADER als „verträumt“ und von Clash als „Surging with spring-like energy“ gelobt wurde. „Shield“ folgte auf die früheren Singles „Joy“ und „Therapy“ und wurde von Künstlern wie Four Tet, DJ Seinfeld, Floating Points, Mall Grab, Daphni, Skrillex, Fred Again und anderen bestätigt, was ihn zu einer Kultsensation machte und die Bühne für ein größeres Album bereitete. salute wurde mit 18 Jahren in die britische Clubszene eingeführt, nachdem er nach Brighton und dann nach Manchester gezogen war. Dort kam er mit der Clubkultur in Berührung, die sich zuvor nur auf Videos bei YouTube und Boiler Room beschränkt hatte. Von hier aus verfeinerte er seinen unverwechselbaren Sound, der sich aus seinem neu gewonnenen Verständnis für Genres wie Grime, Garage und Dubstep speiste.

Der aus Wien stammende und mittlerweile in Manchester beheimatete Produzent salute (Pronomen mittlerweile „him/ they“, folglich im Deutschen wieder Singular) kündigt sein kommendes Album, „TRUE MAGIC“, an, das am 12. Juli 2024 bei Ninja Tune erscheint. Auf dem kommenden Album von salute sind außerdem Disclosure, Empress Of, Karma Kid, Sam Gellaitry, piri, Léa Sen, LEILAH und Nakamura Minami vertreten.

Mit ästhetischer und auditiver Inspiration durch alte japanische Autowerbung, die salute stundenlang in YouTube-Archiven recherchierte, entwickelte er ein Konzept für das Album, bei dem sie den legendären 1985er Toyota MR 2 W1 in einem Rennen namens „TRUE MAGIC“ fahren. Dieses sehr visuelle Konzept half dabei, den Sound des Albums voranzutreiben und dem Album ein Gefühl von treibender Dynamik zu geben. Die Albumankündigung folgt auf seine allererste Nominierung bei den MOBO Awards 2024 in der Kategorie „Best Electronic/ Dance Act“ nach der Veröffentlichung von salutes EP, „Shield“, die von The FADER als „verträumt“ und von Clash als „Surging with spring-like energy“ gelobt wurde. „Shield“ folgte auf die früheren Singles „Joy“ und „Therapy“ und wurde von Künstlern wie Four Tet, DJ Seinfeld, Floating Points, Mall Grab, Daphni, Skrillex, Fred Again und anderen bestätigt, was ihn zu einer Kultsensation machte und die Bühne für ein größeres Album bereitete. salute wurde mit 18 Jahren in die britische Clubszene eingeführt, nachdem er nach Brighton und dann nach Manchester gezogen war. Dort kam er mit der Clubkultur in Berührung, die sich zuvor nur auf Videos bei YouTube und Boiler Room beschränkt hatte. Von hier aus verfeinerte er seinen unverwechselbaren Sound, der sich aus seinem neu gewonnenen Verständnis für Genres wie Grime, Garage und Dubstep speiste.

AGT Records is onto release 007 and it’s a certified killer.

In the early 2000’s KAELO and DJ Jet AKA Kaelo Gallagher and Jesse Goldfarb combined to create JK47. They produced and pressed their records out of their own pocket with no distribution, handing them to local record shops in and around Toronto. When the shops eventually closed the records found their way out into the world, leading us to today.

The Plastic Aviator EP was a passion project of the duo in 2005. Its influences stretch beyond any one era or genre and you really do get a taste of everything here. The balearic feel of the original mix (shoutout to Queen of the Worms on the guitar) is nicely balanced with the dub inflected UKG attitudes of the Scene Heads and Loopity Goofs Mix, while the previously unreleased Hernan Gutmer mix brings the EP to a deep and head-spinning close.

This is a record to be packed and played throughout the night and day, and we’re happy to have the chance to get it back onto turntables - all in good time.

3 cuts of the classic rhythm from Yabby You. ‘King Pharoah’s plague is coming down on the land’, righteous soulful rendition of old testament doctrine. Yabby always delivered his lyrics with authenticity and passion. This 3 track EP comes with the Tommy McCook cut and a thumping Tubbys dub. One of Yabby's most essential rhythms. Comes in a Pressure Sounds house disco bag. Rocking time is here!

The Wrekin Crew is back for a seance outing on the peerless Is It Balearic? This new offering rather continues where the first one left off with two tracks of immersive sonics for sunny days. First up is 'Vapour Trails' which melds lush Italo disco melodies and nice emotinoal pop of the sort you would expect to hear in this duo's DJ sets. Goldsuite also step up with a remix to smooth the edges and lay down moon-lit Balearica then closer 'Broken Wings' has more meaningful vocals but this time over grooves more suited to a late-night setting. Cosmic arps finish it in style with plenty of dubby undercurrents.

Love's Command have been "riding the rocket of Brit funk" ever since day one says ROCit who now serves up a pair of new cuts from them. This record is designed to spread love and pace and it does that with feel-good vibes from the off. 'Aliens From Above' is an out-there funk sound with tight, quick drumming, plenty of neat guitar riffs and a cosmic feel from the lush synths. Add in vocoder vocals and you have a trip to outer space that you will never want to end. Flip it over and you get a more dubbed-out version that is no less of an adventure.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

Leisure Group Recordings, a side label project of Razor-N-Tape’s JKriv, drops their first vinyl release with a 7inch slab of trippy dance-floor dub by Kings Of High Speed. Launched earlier in the year with J’s pensive balearic 'Within EP,' Leisure Group now delves further back into J’s personal archive for a pair of tracks that he began over a decade earlier with his Tortured Soul bandmate, the late keyboardist Ethan White. A huge lover of dub reggae, Ethan showered these tracks with tasty and authentic organ and synthesizer stylings. The tunes sat unfinished on an old drive for many years, until J recently excavated, arranged and finished off the productions with a healthy dose of dub via a Space Echo, Eventide and other hardware delay units. Dedicated to the memory of Ethan White, one of the grooviest humans to ever walk the earth.

Slip this delirious disc out of the lime/slime green sleeve and you're up close and personal with the new chapter in the TD saga.
A dance floor triptych of such seismic scale that the crew spent two years trying to wrangle the tracks on wax, finally finding a plant with the power to press them up.

Sprawling across the A-side is the devastating 'Doner Summer', an instrumental extension of some lost Munich disco masquerading as an Anatolian excursion. Ditching the vocals and cutting the kase, the crew lay down a galloping groove topped with Turkish licks and disco strings, take us into the psychedelic swirl of a tumbling drum breakdown before hitting the big red button marked banger for a searing second half. Firing up the hardware, TD blast this one further into the Phuture, dropping technoid sequences, nagging 303 and Cowley-style FX fuckery for a full on club assault.

In the alternate B-side universe, Hans Zimmer lost his dread note and Denis Villeneuve was forced to turn to Talking Drums for the Dune soundtrack. They obliged with the sci-fi rai of 'Chaba Ranks', reshaping an Algerian OG with a dancehall kick, off beat vamps and star-crossed synths, then letting loose with a heavy bass tone.
|In time honoured fashion, the team also drop a dub version, cutting out the vocals and focussing on those additional elements for the wildly cosmic 'Chaba Skanks'.

Now who's getting the spice in?

Limited Press - Numbered Insert - Drum Fun Guaranteed !

Efficient Space welcomes Th Blisks to the fold with their mutant strain of melodica dub, torched hip hop breaks, post-punk and procession song.

Th Blisks' members have many notches on their collective belt. Amelia Besseny and Altered States Tapes’ founder Cooper Bowman are prolific in their ritualistic ambient-pop duo Troth, while Yuta Matsumura holds a formidable Sydney punk band pedigree on top of his Low Company-backed solo work. A reward for those who took the time to dig it out, Th Blisks’ 2022 debut How So? was a DIY creation that fully embraced its outsider roots, revelling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, we proclaim their return with Elixa.

With an unseen clarity of vision, Elixa conjures its meticulously fleshed out world. Those familiar pieces are all there - the mystery, the patience, a cheeky pop hook - however this time there's an intentionality to it all. A blurred dialogue stretching across Australia, it was largely recorded remotely with tracks bouncing between Bowman and Besseny in Muloobinba (Newcastle) and Nipaluna (Hobart), and Matsumura stationed in Warumpi (Papunya). Every element is carefully considered, stemming from their individual time spent as lifers in the local DIY scenes. Through these tracks you can feel that history; echoes of Castings and Vincent Over The Sink in ‘Do You Bless It?’, Bowman's distinctive submerged tape loops gurgling away under boom bap and *that* Sydney guitar tone in ‘Esk’.

Elixa attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. Informed by the old but drug into The New, it is a begrudgingly current Australien record that respectively nods at the UK’s sound history.

Sheffield's hugely talented producer Hedge Maze lands on Selvamancer. Years in the making after a long search to decipher an unreleased tune from an unknown alter ego found online (title track Riding The Wave), we're excited to finally bring it to the masses. Morphed industrial violence, tearjerking post-dubstep-trap and the ruthless title track bounce off the walls. Let's commence! Face to the glass. "You use a mirror to see your face, you use a work of art to see your soul." G.B.Shaw... but if you stood with your breath appearing on the canvas what would you say to a Mane or a Rothko three inches away from it. As you push your nose up to the mirror of your soul, what to say to it in response. To listen to one's soul is to hear its depth, for it has many voices, but which voice to listen to. Fear be a man's best friend, he will accompany you should you wish. Forever on your coattails, a whisperer of half unseen truths: distorting perceptions. grief, illness, disappointment, pain, struggle, poverty, loss, terror, heartache, All to be feared. Yet, all features of a life lived! Courage then is simply to live and to live well, choose the voice that gives light. Throw the house out of the window so some say, throw yourself too, say I. Mark Warren. - written whilst listening to Strukku's Beat on Hedge Maze EP

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

Island Boogie arrives four years after Meecham’s previous full-length, Music Not Safari, and sees the veteran producer deliver his most ‘personal’ set yet – a collection of kaleidoscopic, cosmic-leaning, dub disco-influenced neo-boogie excursions inspired by his love of the custom-built soundsystem at Rotation Garden Party, an annual micro-festival founded by a group of friends including his former Chicken Lips production partner Dean Meredith. It's fitting, then, that the EP begins with a superb interpretation of ‘'Dévoilez-Vous’ by T-Kutt, AKA Meredith and long-term studio partner Ben Shenton. The pair’s ‘AM FM Club Mix’ sits somewhere between classic Prelude-style electrofunk, NYC proto-house and early British interpretations of American house music. Séverine Mouletin’s chopped-up improvised vocals weave in and out of sun-bright keyboard riffs, colourful synthesiser motifs, heady synth-strings, D-Train style synth-bass and delay-laden machine drums. It’s a superb re-imagination of one of the album’s most stellar moments.

The EP’s other headline-grabbing remix comes courtesy of Leng co-founder Paul Murphy AKA Mudd. He reworks title track ‘Island Boogie’, teasing out the spacey synths and languid jazz-funk grooves of Meecham’s original mix and dialling them up to the max. The resultant revision sparkles with crunchy clavinet licks, mazy synth and electric piano solos, and spacey chords rising above a mid-tempo dancefloor groove. To complete a strong package, Meecham adds two dubs in his distinctively stripped-back, tape echo-heavy style. He first takes on EP title track ‘Dévoilez-Vous’, wrapping vintage drum machine hits in oodles of space echo and dub delay while devoting more time and space to the killer bassline, Rupert Brown’s infectious hand percussion, and Mouletin’s vocalisations.

To round off the EP, he dubs out album epic ‘La Cassette’, another collaboration with Mouletin that also features additional percussion by Brown. Like the original synth-powered dancefloor dubs of the early-to-mid-80s that have long been an inspiration, Meecham’s ‘La Cassette’ dub features key musical elements – many drenched in trippy effects – popping in and out of the mix, while his sturdy drums and memorable bassline spar with Brown’s percussion below.

"Two-pronged, remix attacks don't come much more exciting and potent than this... as here - thanks to our good friends at Nervous NYC - we're beyond hyped to bring you the legendary Masters At Work and Dave Lee on one single, fully weaponised package.

Putting their own, inimitable spins on Louie Vega's ˙Music Is My Life˙ - which features the unique talents of Unlimited Touch - we're treated to a pair of wonderfully complimentary, but no less idiosyncratic re-rubs from these two stalwarts of the scene.

With a production hand and artistic touch like no other - Masters At Work lead the way here, with their main remix. Characterised by that trademark looseness and deliciously warm, organic approach - their rework is awash with woozy psychedelia and layered so expertly, that getting lost in the music is both gloriously simple and an absolute pleasure. But no true Vega & Dope remix suite, would be complete without a bonafide Dub version. And for ˙Music Is My Life˙ - this sees the dynamite duo take proceedings down a distinctly more mesmeric and mood-laden path… one where the vocal is instead used as a powerful rhythmic weapon, and the star of the show, is a surreptitiously morphing and shape-shifting, delicately acid-laced synth lead.

Next up - having recently switched his attentions to productions under his own namesake - is Z Records' head honcho, Dave Lee. Snapping into life with its crisp and punchy drum work - what Lee's remix does share with that of the Masters is in the over-arching, tripped-out haze which douses proceedings. However - where his remix opts to stick its head well and truly above the parapit, is in it stylistic flavouring. As when it comes to slicing that genre cake, so to split the worlds of Disco and House perfectly down the middle - there's simply no one who does it finer.”

Reptile Mob is back with a third part of its superb on going compilation series and this one looks at different aspects of the garage house sound. Side a-begins with some fresh four-four grooves no least the opener from the legend that is Perception with Andy G and their dubby 'Let's Go'. Conspiracy Dubz keeps it bumping with the old school feels of 'Musical Rush' and on the B-side it is more of a 2-step sound that emerges with jazzy melodies and female vocals. Groovy D's 'Another Chance' is the real standout for us with its classic vocal sample worked into a nice kinetic rhythm.

Foundation ska from the cradle of Jamaican music...

Federal Recording Studios nurtured the talents of innumerable Jamaican artists in the early sixties... this set showcases seriously sought after rarities and previously un-released tracks from Don Drummond, The Maytals , Lynn Taitt and many more

2025 Repress

Operation Sole like the summer, hopefully, imminent; “Operazione Sole” like the 1967 song by Peppino Di Capri, considered, perhaps wrongly, the first ska in Italy, but certainly the first to talk about Jamaica and upbeat rhythms.
The record you have in your hand is intended to be a testimony to how much the sounds born in Kingston between the '60s and '70s had a significant influence on local pop.
With the first explosion of reggae in England between 1968 and 1970, as well as with the rise of Bob Marley to a worldwide cult phenomenon, parallel to the all-English phenomenon of Two Tone and the ska revival, Italy, always attracted by the new trends not only English, he certainly couldn't stay on the sidelines.
Therefore these innovative and unknown upbeat sounds, derived from the blues of the 1950s and mixed with a Caribbean sauce, have also taken hold in the Bel Paese.
It began as early as 1959 with the song “Nessuno” by Mina, considered to all intents and purposes a Jamaican shuffle, to arrive in a few years at blue-beat (I4 di Lucca, Claudio Casavecchi) and ska (Margherita, Peppino Di Capri , Silvano Silvi, Renzo and Virginia) and be exposed to the first reggae (for example Jo Fedeli and his Italian version of “Israelites” by Desmond Dekker). Thus, we quickly reach the end of the decade of the economic boom and the culture, styles, references change: everything becomes more busy (on a cultural, artistic and political level).
After a stalemate phase that lasted more than five years, Bob Marley's reggae (considered a sort of new Messiah) conquers the planet, including Italy: the producers and artists, even at a high level, for a few years do not remain at all indifferent to this novelty and decide to introduce the "upbeat", primarily reggae, into the various pop repertoires: well-known names such as
Loredana Bertè, Mario Lavezzi, Rino Gaetano, Ivano Fossati, Ilona Staller, Adriano Celentano, Edoardo Bennato throw themselves headlong into new sonic adventures, in a pioneering way, but often with excellent results.
The "Operazione Sole" collection wants to take the credit, instead, of proposing and discovering lesser-known artists (with the exception of Gino Santercole, former associate and relative of Il Molleggiato), often real meteors in the Italian musical panorama, who have tried to achieve (or achieve again) success by adapting the pop that was so popular in those years to the new black sounds prevailing in the West.
We are in the early 80s and we range from the most classic reggae, to Italo-disco contaminated by dub up to the true Neapolitan style which, on more than one occasion, in its being endemically "black" and full of groove, has wrung out the watch out for agreements made in Kingston and London.
“Operation Sun”: a pleasant philological work, but surrounded by an equally pleasant aura of disengagement.

Pressed On White (Lp1) & Red (Lp2) Vinyl. How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around.

A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix – Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

The long running vessel for Cameron Stallones' psychedelic excursions, Sun Araw, returns to Discrepant after last year's split with Tarzana via Keroxen sister label (KRXN033).
Without much precedent in his own - already wide-ranging - back-catalog, 'Cetacean  Sensation' discards the dubby vibes, psych-rock sunburnt jams, tropical visions, or stalking sensibilities of such classic efforts as 'On Patrol' or 'Ancient Romans' towards a deeply focused and vivid solitary approach, while still retaining this Sun Araw blissed out escapist feeling.
Composed of hydrophone recordings of whales and dolphins sourced during a summer in Galicia, 'Cetacean Sensation' paints an impressionistic and sensory floating canvas that expertly escapes both academic-like documentarian purposes and any new-age spa vibrations one could associate with such subject matter. Processing those raw recordings into alluring collages that flow gracefully between moments of clear eco-location  and submerged impressions of wildlife social dynamics. By the third track - Dance of the Minke - we're introduced to this ringing MIDI tone that evokes a CD-ROM era of mystic educational programs and click-and-deploy strategies  that still feel very much like an unfulfilled future, conjured again by 'Spider Crab Elegy's sparse keyboard pads and sound effects that give way to this properly elegiac tentative melody. 'The Spider Crab Point' ends the album on a more uneasy vibe, with synth tones pointing towards no particular direction, confounding and strangely inviting at the same time. As sensations often do.
Music written and produced by Cameron Stallones using hydrophones and digital synthesisRecorded in 2019 in Galicia, ES
Mastering by Rashad Becker

Gottwood Festival's imprint Gottwax returns for its eighth installment. At the controls of this release is the London-based duo 'Make A Dance,' whose playful, party-driven sound has been making waves in the underground since their inception. Delivering a lively four-track EP, which includes two originals and two reworks, all of which are club-ready and certainly have 'The dance in mind.' This is going to make it into a lot of DJs' bags this summer and is not one to be missed."

Kicking things off on the A-side is 'Pocket Beagle,' a playful track that exudes energy with its infectious bassline groove and unforgettable vocal. Make A Dance showcases their slick production abilities and sense of humour with this track, which is sure to be a staple at many parties this summer. Moving to the A2, 'Pocket Beagle (Acid Dub)' is the duo's club-ready reimagining of the A1, injecting some serious attitude and character with its acid-infused bassline and metallic top line.

Onto the B-side, we've got 'Woof Doof.' This track is a real groover, with a lively bass and catchy melody. It's a solid addition to any DJ's arsenal and one you can expect to hear at many parties this year.Closing out the EP is 'Woof Doof (Hardcore Labrador Mix),' the duo's haunting rework that cleverly rethinks the B1 but takes you on a deeper journey. With its heavy drum groove, swelling sound effects, and that catchy top line, this track is tailor-made for those late-night dance floors.

We're excited to welcome Make A Dance to the Gottwax family and share the 'Woof Doof' EP with you.

Originally released in 1983 on Hessian.

Bryn Jones’ work was justly known for its excess—of tracks created, of rhetoric, of volume levels, of repetition, of length—and the sometimes indiscriminate way he produced material as Muslimgauze carried over into his approach to the part of the business that involved getting people to actually hear his music. Known for the deluge of DATs he’d share with the labels he worked with, Jones also didn’t necessarily restrict himself to just one outlet.

Very early in his career, in the same year the first two Muslimgauze LPs came out (1983), Jones released an obscure 7” single with completely blank black sleeve art on a label called Hessian. »Hammer & Sickle« is to date the only release on Hessian (which may have just been Jones himself?). Those two LPs, Kabul and Opaques, are fascinating in the context of the full swath of Jones’ work. They’re much spacier, more drifting, and notably less interested in using the kind of Middle Eastern percussion and other instrumentation that’s such a distinct element on many Muslimgauze releases. »Hammer & Sickle« operates in a similar territory, but if anything a little further out from the main body of Jones’ work.

The side-long title track and the three b-sides here are all cut from the same cloth, spacious productions that mainly play rounded synth percussion against echoing, ›bag of wire‹-style dub hits. After the lengthy examination of »Hammer & Sickle« itself, the other three cuts experiment with altering pitch, duration, tempo, and other elements as if testing the ways Jones could vary the effects of the title track without ever ditching its component parts. His sound was already quickly evolving (even the next year’s Buddhist on Fire is closer to what fans likely picture when they think of the »Muslimgauze sound«), leaving »Hammer & Sickle« an intriguing and valuable portrait of one of Jones’ early side investigations.