Cerca:eyes of love

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

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

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

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

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

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

Beautiful mix of eastern sounds and western rhythms, with haunting melodies, nice drum breaks and using traditional Arabian instruments alongside organs and drums.

• Demon Records presents Dr. Hook ‘Gold’, the only Dr. Hook compilation you’ll ever need.
• Formed in New Jersey in 1968, Dr. Hook were an American rock band who found international success and became a household name throughout the 70’s and 80’s. Led by Dennis Locorriere and Ray Sawyer, the spirited band of singers and musicians became known for their wide ranging body of work which includes the iconic tongue in cheek ‘The Cover of ‘Rolling Stone’’, the powerfully emotional ‘Carry Me, Carrie’ and the nightlife romance of ‘Sexy Eyes’.
• The group achieved an impressive 6 UK Top 10 singles including ‘Sylvia’s Mother’, ‘A Little Bit More’ and the #1 hit ‘When You’re In Love With A Beautiful Woman’.
• This new compilation brings 18 of Dr. Hook’s classic tracks together, including songs from across their entire career.

Danish indie rock duo The Raveonettes first met in Copenhagen in
2001, after which they quickly began recording their first EP Whip It On. Their first full album Chain Gang of Love followed in 2003, and it quickly gained recognition as lead single “That Great Love Sound” was featured on the soundtrack of FIFA 2004. Upon release, Pitchfork complimented the album for its high-quality production, tightly controlled melodies and called the album a glorious buzz. Mixing raw garage rock with catchy, sweet lyrics, Chain Gang of Love demonstrates The Raveonettes’ knack for crafting compelling songs.

Chain Gang of Love is available as a limited edition of 1500 individually numbered copies on translucent red vinyl.

LTD. CLEAR VINYL

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

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

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

coloured vinyl

Fractions return to Fleisch for a third time with their debut LP, unleashing eight tracks of highly effective techno-infused body music inspired by the melodrama of French films such as La Haine and Irreversible. With a palette of modernized 90s rave elements they transport the listener on a cinematic ride of contrasts between the explosive and the soothing, through violence and action to love and hope. Featuring Zanias on Track A4

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

• Demon Records presents ‘’The Bridge’, the 1995 studio album by Ace of Base
• Ace of Base are one of the most successful pop groups who ruled the charts in the 1990s,
producing inescapable pop singles, including 10 UK top 40 singles
• Singles include: ‘Beautiful Life’, ‘Lucky Love’ and ‘Never Gonna Say I’m Sorry’
• This reissue is pressed on 140g Clear vinyl with original artwork and printed inner sleeve

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

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

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

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

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

We are back on Boogie Butt with a soul track just like back in the days, this time with a Lord Funk & Samm Culley collaboration. We’re bringing back to your ears this giant artist, who crosses decades of music with its great personality and many groovy songs.

Samm Culley is an R&B, soul & funk keyboard player and a dope songwriter. His music career started within the band Tiny Tim & The Hits with Tom Price & Bill Collier. This trio soon left Tiny to form their own group The Diplomatics with Irving Waters as the lead singer. They later on became the legendary Skull Snaps.

Over the years, Samm co-produced and/or played with many unforgettable famous artists such as Hot Chocolate, The Fatback Band, George Kerr, Patrick Adams, Vaughan Mason, Reggie Griffin, De-De, Van Mc Coy, Lloyd Price & even later in Hip Hop music with Marley Marl or Freddie Foxxx.

“Let It Go” brings you back in 1970 with a great killer dance floor track for Bboys and soul lovers: the dru break is hot and on the same time, the guitar hook and bassline make you feel James Brown on the scene. Close your eyes and easily imagine John Shaft dancing on “Soul Makossa”.

The B side is the instrumental reworked by our well-known Lord Funk, with Samm on bass. Enjoy & play loud!

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

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

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

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

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

Five years have passed since Pete Josef's debut album "Colour" caused a sensation worldwide amongst music lovers and critics alike. Since then, it's hardly surprising that his steadily increasing fanbase have been awaiting its follow up impatiently. "I Rise With The Birds" will be released in October on Sonar Kollektiv and one can say without doubt that the wait was worth it. The album's ten tracks offer gold until the last note of music, and an hour of food for thought about life's ups and downs. The blue-eyed soul singer from Bristol has come to be a well-respected multi-instrumentalist and producer over the years merging jazz, soul, pop, and electronic music and collaborating with Manu Delago, Rag'n'Bone Man and Roni Size among others.

Thaba is a collaboration between South African singer/
songwriter Khusi Seremane and American producer/musician
Gabriel Cyr. Tragically in July 2020, while the two were
working with Soundway to prepare the release of their first
record, Seremane died a few days past his 41st birthday, after
battling health issues for several years.
The particular Thaba sound reflects a sonic duality drawing
on a double pop heritage of Mbaqanga and Bubblegum artists
like The Soul Brothers, Paul Ndlovu and Pat Shange alongside
traces of Roxy Music, Grace Jones, Sade, and Talk Talk that’s
wrapped up in a modern, electronic, layered, introspective
and at times jazz-tinged production style.
Brought together by a shared love of kwaito, 90’s R&B and
classic downtempo, Seremane and Cyr collaborated for a
decade after meeting online in the halcyon days of Myspace
Music. While the pair initially planned for Seremane to guest
on a Teleseen track, their ideas eventually evolved into an
entire record. Their debut, Eyes Rest Their Feet, was created
remotely over the course of several years, with the core
recorded during a 2016 studio session in Cape Town.
After returning to New York, Cyr honed these recordings with
several Brooklyn-based musicians, calling upon members
of Antibalas, Underground System, Midnight Magic, Loboko
and others. Eyes Rest Their Feet spans genres as well as
geography, touching on elements of soul, reggae, synth-pop
and beyond, with lyrical themes that explore loneliness and
the challenges of human relationships.
Eyes Rest Their Feet not only represents the apex of
Seremane’s work as an artist but also a meditation on the
transformative power of love and the impermanence of all
things.

The much sought after debut album from Manchester's Liam Frost & The Slowdown Family is back by popular demand.

Includes the singles "The Mourners of St Paul's" and "The City Is At Standstill“

Pressed on 180g translucent blue vinyl.

Recently featured on Tim Burgess’s Twitter Listening Party

Released originally in 2006, Liam Frost is described by Guy Garvey as "the UK’s answer to Bright Eyes".

"Young, fun and riotously talented, Liam Frost And The Slowdown Family are a free-wheeling 21st century folk carnival" -- NME

180g black vinyl Star Birth and downloadcode for "Star Birth" and "Star Death". Gatefold.

'Star Birth' is a flung fisherman's net, mighty in scope, irrevocable as looking up from the stone floor of a cathedral – there is space, yet there is profound intimacy from the immediacy of the lyrics, our thoughts rattling around like panicky goldfish. Race has taken aspects of areas
previously explored, and made a quantum leap into the unknowable. With opening track Can't Make This Up, the gauntlet is flung down – 'what is need, what is greed / it's a new crush, the brain trust/ hive mind rewrite rewind/ falsehood streaming'

'Star Birth' is international maverick and music icon Hugo Race's 15th album with his band of True Spirits. It's a double album and the twin album's name is 'Star Death'. Star Birth was recorded during Australia's bushfire summer apocalypse of 2019 and mixed as the 2020 covid-19 pandemic hit. When the stars align it all makes sense, Hugo explains, adding that one oceanic evening while writing the album a bright star exploded right before his eyes, the sign of a sudden end and a new beginning...

Hugo's writes of trials, tribulations, hopes, fears, heartaches, loves, losses, highs and lows – 'everyday I die a little bit more, in a thousand ways I fight my little wars – and he sings with exquisite pathos and depth, like he's singing just for you about the times in which we live –
political disasters, our planet, the absence and the presence of spiritual values, broken promises, cracked hearts and if any of it really matters anyway. With hell raising lyrics like,Expendable, you'd have to wonder if anyone of us will make it through alive – 'hey sister, are
we all expendable? nobody wins, but so many of you think they do / don't try to fool yourself people, deep down you know the truth - everybody gets their one hot shot but no one's bullet proof'. But then The Rapture reminds us that there will always be stars dying in the glory of
new life – 'give us this day comfort and bread / implant in us the living word / empower us with divine love and deliver us from evil / for you are the one true light / the power and the glory / forever /amen'

Hugo's True Spirit deliver a lush, sonic love letter of rock, electronica and dramatic orchestration, based in blues, hypnotic repetition and sonic exhilaration. Michelangelo Russo is a huge part of this atmosphere; his approach to music is that of an artist with a palette of
mysterious implements and machinery, but the entire band and production is incredible from start to finish. Star Birth is 48 minutes of mind expanding, mind blowing, heel tapping tunes, with its sister album 'Star Death', a dub version of remixes that will send you searching for
your own exploding star somewhere in the sky…

"Vapor City" ist das gefeierte Debütalbum von Travis Stewart als Machinedrum welches erstmals 2013 erschien und seit einigen Jahren nicht mehr erhältlich ist. Anlässlich der Veröffentlichung seines neuen Albums “A View Of U” veröffentlicht Ninja Tune eine limitierte Neuauflage des Klassikers auf goldenem Doppelvinyl mit Artwork von Dom Flannigan and Eclair Fifi.

"Vapor City" ist ein Moloch, eine Metropole entstanden in Travis Stewarts Träumen, die ihn schon ein Leben lang verfolgen. Immer wiederkehrende Träume brachten ihn so oft in diese imaginäre Stadt, so dass er diese Viertel für Viertel beschreiben kann und das illusorische Metropolis auch für seine Hörer endlich erfahrbar macht. Das Album ist eine detaillierte Stadtkarte aus Sound-Landschaften, die es jedem ermöglichen sich in "Vapor City" zurechtzufinden - oder auch darin verloren zu gehen. Nach Veröffentlichungen auf LuckyMe, Planet Mu, und Hotflush Records und seinem hochgelobten Album "Room(s)" aus 2011 bastelte Stewart nicht nur an Nebenprojekten wie JETS (mit Jimmy Edgar) oder etlichen Remixen, sondern auch an der Vertonung seiner Vision.

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

When your roots have a broad geographical diversity, it’s very likely this will resonate in the music you make. This is certainly the case with Alma Negra and their new release on Heist. It seems they have embraced all their cultural influences more than ever in their new ‘Dakar Disco EP’. The whole record oozes class and musicality and feels like a carefree collage of the rich musical lives they live. The three originals on this EP vary in tempo and energy, giving you something for each moment of the day or night. They are accompanied by a remix from none other than the Japanese master of cosmic funk: Kuniyuki.

The EP kicks off with the title track ‘Dakar Disco’; an island style mid-tempo burner, rich with filtered guitars, bells and bleeps. Soothing chords and synth melodies are introduced for a lovely build up, but it’s the live horn section that takes centre stage. Here, the track really comes to full fruition, with a squeaky lead accompanying the horns for an electronic twist to what is above all a lovely summer jam.

‘Contra’ ups the pace and moves more into dance floor territory with loose claps, spacey pads and faraway chants. This track really gets to you with the live percussion and extremely catchy lead running throughout the track. This is afro house just the way we like it.

We’re very proud to have Kuniyuki remixing ‘Dakar disco’. This master of his craft has done an outstanding job with his cosmic take on ‘Dakar disco’. He lays down a great riff on bass guitar, while playing around with all the live elements and adds a serious bit of reverb for a stunning effect. This track is a perfect example of Kuniyuki’s musical skills and we can almost see him jamming this out, eyes closed and directed towards a distant point in space only he can see.

The EP’s closing track ‘Back in town’, is perhaps the clubbiest track of the set. A friendly acid line squeaks over tribal drums & chants and you immediately get pulled in by a great balafon hook. You can really hear how the guys feel at ease combining these worldly elements with modern electronics and ‘Back in town’ is a great example on how to blend these sonic worlds.

So there we are. A taste of the Alma Negra summer with a healthy dose of Japanese funk. Enjoy!

Yours sincerely,

Maarten & Lars

The ultimate freestyle box contains Johnny O - “Fantasy Girl” (Vinyl EP), Stevie B - “Hit Collection” (Vinyl 2LP), Johnny O - “The Very Best Of” (CD) and Stevie B - “Greatest Freestyle Collection” (CD).

Something a little different from Athens of the North, Crisrail (Chris Rael) is an almost-LP of mad out there funky post punk from Silver Spring, Maryland, USA. Rated and played this out for some time but it has remained mostly under the radar due to scarcity. I could compare it to The Cure but it's so much more. 500 ONLY

"Playing instruments didn't come naturally to me, but I loved it so much I kept doing it and got better. When I started composing seriously in my early twenties, I didn't have much confidence in my voice or instrumental abilities, but my imagination was on fire and I was determined to create music that sounded like nothing else. I would find my place in the constellation of sound by carving a niche that was so unique, musical virtuosity wouldn't be a factor. I was inspired by Tom Scott of the Muffins, Maryland's legendary progressive jazz quartet, and owner of Black Pond Studios in Rockville, where Game of Music was recorded. It was my first solo release; I played everything except Tom's horn and flute parts. Lacking confidence to perform, I was very much a studio rat and became facile at overdubbing solo tracks. New music reviewers praised it at the time, but its distribution was limited and it's been out of print for decades. Listening now, it's more musically muscular than it felt to me at the time. It's incredibly gratifying that more people can hear it again, thanks to Athens of the North." - Chris Rael

With the sole exception of Louis Armstrong, Nat "King" Cole was one of therare black artists to enjoy such celebrity in the Forties and Fifties. He began his career as a pianist, forming a trio in 1937 with guitarist Oscar Moore and bassist Wesley Prince, but he was so successful as a singer that he went on to make many recordings as a vocalist.

Capitol, his record label, was quick to capitalize on Nat Cole's velvet tones. The hits came one after another: Straighten Up and Fly Right (1943) sold a million copies, and Nature Boy (1948) and Mona Lisa (1950) sold over three 3 million each. Some of his other (numerous) popular hits can be found on Side B.

Nat Cole's popular songs, however — some were so sentimental they were even slushy — should never conceal his talents as a pianist and musician, which he displayed with the best jazz orchestras around (Side A), his own trio (Side C) or in outings with Latin rhythms (Side D).

His fame earned him his own NBC television show in 1956, while Presidents Truman andKennedy would consult Nat on complex racial issues. He also appeared in some fifty films, and continued to record profusely (at least a hundred of his titles entered the sales charts). Nat "King" Cole deserved his title: not only did he sell over fifty million albums, but he also belongs to those artists who wrote jazz history.

2LP: Gatefold with colored vinyl, Side AB: translucent Purple / Side CD: translucent Green. 12x24 inch fold out insert

Velvet is Adam Lambert's ode to 70's, guitar driven rock and funk music done with a modern twist and accentuated by his distinct and incredible voice. Best known as an international superstar who blew the world away on the eighth season of American Idol. Since then he's gone on to have a fully-fledged solo career, and tour the world with Queen. In addition to his musical achievements, he became the first openly gay artist to chart with a number one album in the US and Canada.

AD and Worldline deliver Toy Opulent’s third release - and it’s first vinyl imprint.

Soft Serve Angel projects a clear and present sense of techno drive and a delightful symphony of melodic synths. The beginning is minimal and evolves into a full cacophony of beauty and craftsmanship, layered with the vocals of the mysterious Crisis Luxury. Here, meanderings of childhood tones echo from an East L.A. ice cream truck. From the hailed vehicle emerges the soft serve angel - with a vanilla cake cone prepared, just for you, on a sunny California day. This track is incredibly versatile.


A Soft Serve Angel remix is presented to us by a master of his art, Persuader. He shows us, once again, that minimal drive that we can all count on to provoke thought and movement with modern engineering skills and a familiar old school flair.


Bubble Gum Eyes is minimal perfectly pitched protocol of TR-909 love with a morphing bassline and epic-scale science-synth work. The track addresses both a question and an answer.


Rocket POP! I mean, who don’t love a good rocket pop? This dubby dub dub mix contains fragments of the entire release that sums it up, and finishes it off perfectly - the cherry on top of the soft-serve angel.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

Benannt nach einer analogen Drum-Machine, die LA Priest aka Sam Dust aka Sam Esatgate sich selbst erträumt und gebaut hat, ist GENE der Nachfolger des von Trüffelschweinen gefeierten Debütalbums Inji aus 2015 und der Kollaboration mit Connan Mockasin, Soft Hair, in 2016. Und natürlich ist diese Drum-Machine, die Sam über zwei Jahre erdacht und ertüftelt hat, der Dreh-und Angelpunkt dieses Albums. Es ist die bisher vollständigste Umsetzung seiner Vision. Diese Songs sind auf der Suche nach Sinn, sie erforschen die Grenzen der Fähigkeiten ihres Schöpfers.

LTD Edition!

Benannt nach einer analogen Drum-Machine, die LA Priest aka Sam Dust aka Sam Esatgate sich selbst erträumt und gebaut hat, ist GENE der Nachfolger des von Trüffelschweinen gefeierten Debütalbums Inji aus 2015 und der Kollaboration mit Connan Mockasin, Soft Hair, in 2016. Und natürlich ist diese Drum-Machine, die Sam über zwei Jahre erdacht und ertüftelt hat, der Dreh-und Angelpunkt dieses Albums. Es ist die bisher vollständigste Umsetzung seiner Vision. Diese Songs sind auf der Suche nach Sinn, sie erforschen die Grenzen der Fähigkeiten ihres Schöpfers.

At last, another chance to get a classic soul masterpiece on 7” vinyl, even if you can score an original copy for about £800.

Timeless Legend were Jackie Hogg, Allen B. Burney, Donald Harmon, and Michael Harmon from Columbus, Ohio. Their music is among the most elusive on the rare funk/soul scene with the 7” of “I Was Born To Love You” a huge crossover club. Few have actually ever set eyes on this album either, and those who own one have paid £2,000 for the privilege.

In 1981, London-based E.G. Records released the debut album from a young Ghanaian group called Edikanfo. Edikanfo quickly rose to international notoriety following the release of “The Pace Setters” because of the infectious, forward-looking highlife meets afro-funk synthesis the band committed to tape. But the album also caught an additional wind of publicity due to its producer, the already legendary British musician and sound conceptualist Brian Eno. During that time, Eno was researching and openly propagating West African musics. He often mentioned his love of Fela Kuti and called his own rhythm-driven experiments the search for a “vision of a psychedelic Africa.” He had recently been collaborating with The Talking Heads on their Avant-funk masterpiece “Remain in Light” and with The Talking Heads frontman David Byrne on “My Life in the Bush of Ghosts,” an album which foretold the sort of cross-pollination and global music interconnectivity that today we take for granted. Eno and Edikanfo’s work together at Studio One in Accra (Ghana) was yet another inspired morphing of soundworlds and processes and a significant touchstone for both artists. As Brian Eno recently noted: “the actual recording sessions were joyful - the band played with such verve that you couldn't resist.”



But just when the sky seemed the limit for Edikanfo, the coup d’état in Ghana on the last day of 1981, tragically put the brakes on the band’s quickly developing fortunes. For years after that, the country endured enforced curfews at night, which of course ultimately gutted the live music scene in Accra and elsewhere. Because of this and other financial setbacks, the band ceased activity and its members spread out in exile, all over the world. It clearly seemed as though the story of Edikanfo, one of Ghana’s greatest bands of that era, had come to a premature end.



Now, almost four decades later, Edikanfo has returned. And with its surviving members gearing up to reissue and tour their classic 1981 album, “The Pace Setters,” the band is once again excitedly pointed towards the future.

On his new record "Companionship", London-based Soft-Rock, Soul and Disco artist Joel Sarakula keeps the mood easy and the grooves deep. Ten new songs see Sarakula develop a deeper, more introspective lyrical style from his previous works as he celebrates and laments friendships, love and loneliness. Interspersed with a few standout up-tempo tracks to keep the ship sailing, "Companionship" is a chill-out album and listening experience of the highest order.

"Companionship" opens with "Midnight Driver", a driving soft-rock fantasy where the narrator laments his partner's nocturnal habits: 'When she's coming up, it gets me down'. The Californian sun-kissed guitars, vocal stylings and percussion all help to set a cinematic mood which unsurprisingly also makes it a great driving song. On the introspective "King Of Clowns", Sarakula creates a pop song that calls to mind the craftmanship of Hall & Oates and Elvis Costello. Both an admission of guilt and an unapologetic statement of intent, his low vocal careens in the dangerous divide between self-pity and self-parody: "My bad decisions worked out for a while, I'd do my dance tried to make you smile, I'll never wise up it's just the way I am". These confessions all occur over a down-tempo funk groove complete with some vintage synthesizer musings that makes the track ready to be sampled for a hip-hop record.

"Sunshine Makes Me" steps straight out of its mid-1970s swimming pool, heavily dripping in jazz fusion to dry off in the cold light of today's sunshine. The chorus is a mantra of desire, needs and reality that sees Sarakula sing 'Sunshine makes me lose my mind, thirty degrees and my eyes get so wide. Dreaming big and living slow, don't you know that time is on our side". On "Companionship", Joel Sarakula, prolific writer, producer, performer and multi-instrumentalist finally unleashes his chill-out pretensions. In this follow up to the critically acclaimed "Love Club" (2018) he develops a deeper and more mature compositions and production style. His love of all things vintage extends to a devotion to analog synthesizers and on "Companionship" you can hear a genuine love of synthesis that at moments is reminiscent of 70s synth production pioneers Todd Rundgren and George Duke.

Joel Sarakula will tour "Companionship" through Europe and the UK this Spring and Summer 2020 with his musical companions. Born in Sydney, based in London and a true internationalist, Sarakula tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is a sly nod to the golden era of the 1960s and 1970s when travelling US pop, soul and blues artists would do the same.

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

LP auf neongelbem Vinyl im Klapp-Cover. Die Lovely Eggs haben sich in den letzten zwei Jahren zurückgelehnt und zugesehen, wie sich England und der Rest des Planeten langsam selbst auffrisst. Und dabei ganz genau beobachtet. Ihr neues Album "I Am Moron" ist das Ergebnis ihrer Beobachtungen, eine unerbittliche Analyse einer modernen Kultur, die die Welt in die Knie zwingt. Die erste Single "This Decision" ist ein offener Angriff auf die Gier und die kopflose Konsumgeilheit und eine Verteidigung des schlichten Lebensstils, für den sie sich entschieden haben. Ein kraftvoller, harter Schlag gegen die Realität. Die Lovely Eggs haben sich nie davor gefürchtet, gegen den Strom zu schwimmen und jetzt haben sie eine Armee von Fans hinter sich. Willkommen in ihrer Welt. "I Am Moron" ist der Nachfolger ihres 2017er Albums "This Is Eggland. Auch das neue Album wurde von Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) koproduziert und gemixt und setzt die Reise der Lovely Eggs durch Eggland ins Unbekannte fort. Sie sind zweifellos die echteste Band Großbritanniens, die in einer Welt agiert, in der wahre Authentizität schwer zu finden ist. "I Am Moron" wurde von der Band selbst in Lancaster ("The Twin Peaks of Northern England") in den Räumen der Lancaster Musicians Co-op aufgenommen. Die Heavyness von "This Is Eggland" wird auf "I Am Moron" fortgesetzt. Das Album bringt mehr Tiefe in ihren Sound durch eine Mischung aus heftigem Psych-Pop und einer Prise Seltsamkeit.