Suche:first class

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Slacker 85 is the new label from the mind of one of the world’s biggest DJs & most recognised personalities, Seth Troxler. The first release, SLACKER001, brings together Seth and four more artists with their own takes on modern electronic music, to introduce fans to Slacker 85's remit for the oddball, esoteric & diverse sounds that are forthcoming from a wide range of artists and genres.

The label launches with the long awaited release of ‘Pills’, a a low slung acid groove that has been an in-demand staple of Seth's DJ sets around the world over the past year. It will be followed by the effervescent jacking house of ‘Let’s Go’ by Jackmaster – destined to be a mainstay of global dancefloors throughout this summer – before the fast-rising UK talent Ghoulish drops ‘Forever Ugly’, a romantic filter house earworm that harks back to the halcyon era of Fred Falke and Alan Braxe.

Rounding out the first batch is Cesar Merveille’s collaboration with André Baum (People People / Beyondré). ‘The Finish Line’ sees the Cadenza-affiliated Parisian’s building a melodic analog groove while NYC’s Baum invokes classic 80s electropop with his understated vocal.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Foliage Records introduces Volume 2 of the new 12” Sampler Series.
Volume 2 offers four stunning cuts from the Foliage Records back catalogue for the first time on vinyl. The A side of the sampler features Jimpsters bumping Deep House rework of South African electronic producer, Thakzin and songstress Ray T’s ‘Don’t Let Me See’. Fresh from remixing Solomun, Kerri Chandler & Joey Negro, Jimpster picks up the pace, adds layers of Afro inspired percussion and creates an ethereal effect on the vocals, resulting in a club ready classic. Side A also features the stunning ‘Addicted’ by Richard Earnshaw & Kholi, a Deep House, bass heavy groover.


The B side of the sampler has the Afro anthem ‘Unification Vibration’, remixed by legendary producer Atjazz. A prolific remixer with a career spanning 20 years, Atjazz has worked with the likes of Bob Sinclar, Gilles Peterson & Jazzanova. The track is an ode to coming together in ‘our house, our only home’. The B side also contains the heavy talents of Turbojazz & Sean McCabe with their deep & dope remix of Diephuis feat. Ursula Rucker – Listen To This Drum. This remix takes things down a deeper path to the original, with a focus on the bassline and extra percussion.

Explorations was born from the inquisitive spirit that Hypnotica Colectiva has always had for the world of experimental music. We can classify it as an ambitious project, based on the fact that it is the first official sub-label of HC Records, but also pointing to the musical section both on the publishing side and on the live art side. The main objective is not to adhere to any pigeonhole, seeking to cover a wide range of unconventional sounds and rhythms without straying too far from recognizable and danceable patterns. That is why we want to create space for this project on and off the track, without barriers, and with our eyes mainly set on the future.

To kickstart the project, we look within for answers, paying attention to our mother label. John and Paul Healy hide under the name of Somatic Responses, two Welsh brothers with a long and proven career in intelligent music. We won't say that they are pioneers, but they did manage to forge a characteristic sound and style that has accompanied them since they began their career in the mid-90s.

EXPLORATIONS 01 was not conceived as an LP is usually made. When contacting the artists, they sent us a large number of tracks that they thought would fit the label's preferences. From here, the Explorations team selected the 13 tracks that now come to you, trying to find the balance between the three main styles we bet on for this first release: IDM, Ambient and Drone.

"HC Records is expanding its horizons with a new parallel yet ambitious project. In an effort to broaden its recording legacy from an evolutionary perspective, the Valencian label is venturing into the field of experimental sound. This new direction signifies a rejuvenation and adaptation to a new era, where music fragments and expands towards infinite horizons. Complex compositions, abstract designs, and extreme sound treatments define this innovative approach, pushing music beyond its limits and sacrificing some of its essential properties in the process."

Ximo Noguera @Industrial Complexx

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

Released in 2014, "Greater Than Great" is the 5th album by Jamaican singer Skarra Mucci, the first for Undisputed Records, bringing together the cream of Reggae Digital productions from Bizzarri Records, DreadSquad, Irie Ites Records, Weedy G Soundforce, Deebuzz Musik, Hard2Def, Soulove / Delamix, D&H Records, Kskamp and Rawkaz Clan which the toaster comes to ride brilliantly. Greater than great, it's just legend! The album "Greater Than Great" offers eclectic versions navigating between Dancehall, Digital, Reggae and Raggamuffin. Skarra Mucci proves once again that he is one of the rare singers capable of putting his voice on all styles of Reggae with a capital "R" and transforming them into instant classics, like "My Sound », his biggest hit found on this album.

After an extended disco nap your friends at rong music have awoken from our slumber and just in time to celebrate our 20th year of doing this rong thing. How will we celebrate? The only ways we know how. Put out a bunch of new music, unearth some weirdo classics, and DANCE & PARTY.

For our first new single to be released in celebration of our 20th anniversary, we bring you some bangers for the club, rave, your ride, warehouse, the playa, or home disco. The title track, Love’s the Meditation is a classy piece of melodic acid funk (?@$!wtf) whatever that means, with an epic extended mix by our fearless leader DJ Spun... We could hear some of our favorite new techno DJ’s playing Spun’s mix of SSM and Do You Feel the Love and 303 & me have a classic acid HOUSE vibe that is our type of thin. Enjoy!

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wakeman Howe//180gr./8p Booklet/Yes/Black Vinyl

Anderson Bruford Wakeman Howe was the self-titled debut album by the reformation of the classic Yes line-up, consisting of Jon Anderson, Bill Bruford, Rick Wakeman, and Steve Howe. It was also the only studio album they released under this name as they reunited as Yes later on

Critically acclaimed pianist/composer Aaron Diehl's penchant for the past
influencing the future has come full circle with his fully realised suite of
Mary Lou Williams' Zodiac Suite - the first fully-fledged professional
recording of this incredible music
Solely paying tribute to Mary Lou Williams was not the goal, as Diehl's mission is
to give honour and praise to one of the greatest composers of the 20th century
and the forgotten rich history of Black Classical Music.
Joined by the orchestral collective The Knights and special guests Evan
Christopher (clarinet), Nicole Glover (tenor sax), Brandon Lee (trumpet), and
Mikaela Bennett (soprano), Diehl breathes vibrant new life into a masterwork that
the composer herself was never able to fully realize during her lifetime.
Aaron Diehl approaches the piano with a delicately nuanced expressivity and an
exquisitely attuned touch that have garnered him acclaim at the highest levels.
From his collaborations with such jazz innovators as Wynton Marsalis, Cécile
McLorin Salvant and Benny Golson, to his exploratory work in the classical realm
with Philip Glass or the New York Philharmonic, to his own current- crossing
recordings as a leader, Diehl is singularly committed to a journey of musical
discovery regardless of genre or context

"Dance My Hurt Away" is the first single from the upcoming debut album by The Faithful Brothers from Tel Aviv/Israel. Is there a Northern Soul scene in Tel Aviv? The surprising answer is - yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds. Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul. Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together now.

Soul Dynamite is back to celebrate the 10th release with Berlin's finest duo Marc Hype & Jim Dunloop.

On side A you will find their seminal classic, a stunning cover version of Babe Ruth’s B-Boy essential „The Mexican“, which was dubbed by UK’s Jazzman Gerald as ”THE“ version to have, soundtrack of international "Battle Of The Year" 2006, the year when it was originally released, now for the first time on a 45!

On side B you can enjoy "Oh Really?" which was available only on their debut album "Stamp Out Reality". Marc and Jim teamed up with NYC‘s own Mr. Complex over rare syncopated drum breaks, tweaking a late 90s feel.

With fresh energy and bright intuition, Abby Johnson's confident selftitled debut (due in late 2021) offers timeless folk songwriting teeming
with a classic Nashville golden-era sheen
Johnson draws upon genre-spanning influences and wrangles them effortlessly
into her own expression: "I want my songs to sound familiar, but tell you
something new," she says. The duality of Laurel Canyon nostalgia and indie rock
blend effortlessly in her songs, polished further by the airtight backing band of
fellow Nashvillians, Ornament (and produced by the band's drummer, Ryan
Donoho).
Raised in North Carolina on the earnest mythos of Taylor Swift, she describes her
first songs as "diary entries -- playing guitar alone in my bedroom until I was
twenty three." Moving to Nashville for college introduced her to an immersive
musical community, where she steeped in the influence of folk- and- country
stalwarts like Emmylou Harris and Bonnie Raitt in equal proportion to more
contemporary indie songwriters like Phoebe Bridgers.
In addition to music, Johnson is known and admired for her film and photography
work. Capturing the mood of a scene in a single snapshot is an ability she
translates to her vivid songwriting: bringing the subtlest details into sharp focus --
vignettes in a soft- grained atmosphere. Intimacy and longing push and pull
thematically, as well as a sense of motion: driving through the desert; penning
love letters in the mountains; and pulling up a chair to a grandmother's kitchen
table. These songs are rooted but travelling, moseying through American folk-pop
traditions and toward something altogether fresh and dreamlike

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

Recently reformed Swedish death metal pioneers DISMEMBER are proud to announce that they have once again joined the ranks of NUCLEAR BLAST RECORDS, where they released their demo, Reborn In Blasphemy (1990), their 1991 debut album, Like An Everflowing Stream, as well as the four records that would follow. Between 1988 and 2011 DISMEMBER earned a notorious reputation as the “Motörhead (version) of death metal”, through eight classic albums and furious live shows around the globe. The band was formed by Robert Sennebäck, David Blomqvist and Fred Estby in Stockholm, Sweden, in 1988 and has long since been regarded as one of the originators of the trademark Swedish death metal sound, next to other pioneering bands such as ENTOMBED, GRAVE and UNLEASHED. DISMEMBER recorded a couple of self-released demos before their 1990 demo cassette, Reborn In Blasphemy, with Matti Kärki on vocals and ENTOMBED's Nicke Andersson taking over most lead guitar parts, got picked up for a wider release by NUCLEAR BLAST RECORDS. In 1991, their first full-length, Like An Everflowing Stream (Nuclear Blast Records), saw the light of day, which was recorded by Tomas Skogsberg at the now legendary Sunlight Studios, and featured Richard Cabeza (UNANIMATED) on bass. DISMEMBER released their acclaimed sophomore album, Indecent & Obscene, in 1993, which to this day remains their most successful output.

Released in 1997, the fourth studio album by Sweden's DISMEMBER totally lives up to its title, and provides a harsher, more aggressive sound than its predecessor. Including a barrage of great tracks like 'Misanthropic', 'Of Fire', 'Silent Are The Watchers', it also marked the debut of drummer Fred Estby as producer. This remaster by Patrick W. Engel adds an impressive additional punch resulting in the ultimate version of this classic.

Repress!

1981 SYNTH CLASSIC BY JAPANESE KEYBOARD WIZARD AND YMO PROGRAMMER HIDEKI MATSUTAKE REISSUED OUTSIDE OF JAPAN FOR THE FIRST TIME IN 40 YEARS. REMASTERED FROM THE ORIGINAL TAPES WITH STRIKING ORIGINAL ARTWORK BY LEGENDARY ILLUSTRATOR PATER SATO INCLUDING ITS STUNNING FULLY ILLUSTRATED
8-PAGE BOOKLET

His name may not be instantly familiar, but Hideki Matsutake has had a huge influence over Electronic music. Starting his career as the assistant of Japanese Electronic Music master Isao Tomita in the early 70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording "Venus" that year in Los Angeles with Don Grusin, Nathan East and Michael Boddicker, brilliantly mixing Synth Funk, Ambient and Boogie with a touch of Fusion Jazz predating Vaporwave by a mere 30 years. Wewantsounds is delighted to reissue this visionary album, which
comes remastered from the original tapes and features Pater Sato stunning artwork including the rare beautiful 8-page insert with an exclusive interview of Hideki Matsutake by Hashim Kotaro Bharoocha.
The early 80s were prolific for Hideki Matsutake. As the go-to keyboard programmer for the tokyo music scene, he worked on Akiko Yano's "Gohan Ga Dekitayo", YMO's "BGM", Ryuichi Sakamoto's "B-2 Unit", Mkwaju Ensemble's "Mkwaju" and found time to record two Logic System albums in 1981. While the first album, "Logic" had a harder techno feel, the second one "Venus" was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. Michael Boddicker, Don Grusin, Nathan East and Roger Powell duly complied and also played on the album.

The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808 and the Yamaha GS-1, a forerunner of the DX7.

The result is an amazing futuristic mix of electronic music and early 80s funk, announcing many genres to come, from techno and house to French electro and Vaporwave. From the breezy ambient synth of "I Love You" to the city pop edge of "Be Yourself" (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish "Take A Chance", Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful.

The other key elements of Venus is the artwork designed by Japanese legendary illustrator Pater Sato. Sato had started in Japan in the early 70s doing many album covers for Japanese artists including Tatsuro Yamashita's cult Spacy LP before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years and in 2018, Stella McCartney dedicated a whole Men’s collection based on his Venus. Star make up artist Pat McGrath also regularly posts his artwork to her 3 million fans on her instagram.

The original album came with a beautiful 8-panel insert illustrated by Sato which Wewantsounds has reproduced on this deluxe reissue also featuring remastered sound, OBI strip and a second insert featuring credits and line up plus liner notes by Hashim Bharoocha. The notes will feature an exclusive interview with Hideki Matsutake reminiscing about the making of this visionary album which Wewantsounds is delighted to reissue.

LTD ORANGE VINYL

GLOK is the electronic alter ego of Andy Bell; best-known as the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album,
‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.
Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.
Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave nd courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ -
‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she
enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy. It's only just begun.’
Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each
song is definitely a standstill moment.’
Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends,
relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’
Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”
And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always
figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her. She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.
While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the
world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before. ‘falling or flying’- released on September 29th

Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life. Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin. What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears.

Metallic Spheres, The Orb’s 2010 collaboration with Pink Floyd’s David Gilmour has been remixed and reimagined for a reissue which will be called Metallic Spheres in Colour

‘Metallic Spheres’ by The Orb and David Gilmour, the guitar and voice of Pink Floyd, has been reimagined and remixed as ‘Metallic Spheres In Colour’. Of this rework, producer Youth says “The idea for Metallic Spheres In Colour, was that Alex Paterson (founder of The Orb) could have done more on the first version, and he didn't really have the opportunity because we had a philosophy of making the music like the ‘Blade Runner’ soundtrack meets ‘Wish You Were Here’. So, I asked him why don't we remix it and make it like an Orb classic? And in doing that, it's almost like a completely different album.”

The innovators of Electro-Hip Hop are back! Franco-Californian duo, AllttA (French producer 20syl + American rapper Mr. J. Medeiros) emerge from their five year hiatus to take on the stage! After their 2017 debut “The Upper Hand” and sophomore following “Facing Giants” (that same year), AllttA returns with “Curio” Part. I, the first installment in their two part experiment on Electro and Hip Hop: a soundscape they’ve co-created while bending and pushing both into their own AllttA image . This “Curio” experiment of sound in motion will be hitting the road for a tour that will begin next fall.

The Electro-Hip Hop duo consisting of American rapper Mr. J. Medeiros and French producer 20Syl took an “at all cost” - “no fear” attitude when creating what might be the future of Electro - Hip Hop or at the very least a defining moment in the sub-genre.

“CURIO” Part II is AllttA’s second release from their two part album, “CURIO” Part I & II and as its name declares its: a rare, unusual, and intriguing object. In all aspects of “CURIO” you can see, feel, and hear the symbiosis of digital and organic life - the artificial intelligence and the human touch, a relationship which has never been so relevant as it is now.

Even material that didn’t make the record, a tune titled “Savages”, a jaw dropping sound experiment where AllttA used A.I. in a manner which shook the Hip Hop world at the highest levels of stardom, allowed the duo to insert a musical perspective into this world wide debate on the human relationship with technology. If this tune did not make it on the record - imagine what did…

“CURIO” Part II is where AllttA defines itself with confidence, class, and a level of creativity seemingly lost in an oversaturated market of express musical branding. Songs like “Honorificabilitudinitatibus’ and “Victim” take the listener into a genre splitting, epoch bending, mind and sound experience. Shakespearean like word play followed by stacked one-man choruses give you the impression Queen snuck in while distorted analog bass rings violently before morphing into sweet - pensive harmonic tones.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

The Two Sides Of Mary Wells is the seventh studio album by soul singer Mary Wells, released in 1966. Wells' career had drastically changed from just six years before when the then-teenage Wells first recorded songs for Motown. This album mixed traditional pop with more earthier and uptown soul songs. Wells released a modest hit with the Motown-esque "Dear Lover", which hit the top ten of the R&B charts.

It also includes some great interpretations by Wells of classic tracks as: "Satisfaction", "In The Midnight Hour", "My World Is Empty Without You" and "The Boy From Ipanema" a.o.

The Two Sides Of Mary Wells is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

Despite his popularity in Peru as a famous comedian, Melcochita devoted himself to music for many years and worked as in-house studio musician for the label Discos MAG, taking part in countless sessions. This album was recorded between 1967 and 1968, accompanied by the orchestras of Betico Salas, Joe di Roma, Nilo Espinoza, Carlos Muñoz and Tito Chicoma. The album comprises amazing guarachas, mainly international hits, and the hilarious bolero 'Cobardía' where Melcochita brings in his comedian talent. First time reissue! - Back in 1968, the year "Dejen bailar al loco" was released, Pablo was still known as Pacocha (the name of a popular brand of soap) and worked during the day as a session musician for the MAG label. At night, from eight to six in the morning, he used to play percussion in clubs. Then, at the weekends, he performed on the popular variety show La Peña Ferrando, which featured "Quality acting; very funny, simple sketches", impersonations and musical performancs. Most of the guarachas on the album are international hits, such as 'El limoncito' and 'Pa' gozá candela'. The track, 'Quiero casarme contigo' has Mexican origins, and it has been adapted to guaracha style by Betico Salas' orchestra. The humorous 'No es un gato' hails from Colombia, while 'Ahorita va a llové' and 'Carta de mamita' come from Cuba. 'Dejen bailar al loco' and 'Libre de pecado' are also from the Caribbean Island. 'Cobardía' and 'Dos almas' are classic boleros, which were already part of the repertoire of most singers back then and were also included on this album. The only way to perform them to the demanding audience at La Peña without being booed was to put a new spin on the songs, deconstruct them and reinvent the structure, as the Tito Chicoma and Joe di Roma orchestras did, and above all Melcochita, who sang them in a supernatural voice and a created Creole scat that must have wowed the audience, who would then burst into applause and laughter, going home happy after a great night out.

Dirty Dollhouse is the multi-genre music of Philadelphia-based artist Chelsea Mitchell, a folk chanteuse with classical training and a retro-pop composer with a soft spot for country. After releasing her first lo-fi EP, Married in the Aviary, Mitchell received the Tri-State Indie Vocalist of the Year award and the lyrics to her song Nobody's Daughter were showcased in American Songwriter Magazine. Her follow-up EP, 25 Shades, saw a departure from traditional folk and embraced a Nashville vibe while 2017's full-length album Vinyl Child was a mixture of darkly contemplative pop songs and quiet, intimate confession. Drawing from many muses has produced a uniquely diverse catalogue, but it has also made it near-impossible to pin down who Mitchell sounds like. In sultry-toned moments you might hear Nicole Atkins, a soft bird-like peak could make you think of Kacey Musgraves, and a certain belt may summon Brandi Carlile. Though her vocals range from soft twang to unabashedly operatic, it would suffice to say that Mitchell's songs all fit under the same 'singer-songwriter' umbrella as her lyrics weave a diary page to life and her band expands on structural simplicity with subtle grace. As bassist Joshua Machiz, drummer Eric Lawry, and lead guitarist August John Lutz II are now full-time members, Dirty Dollhouse has found a new and exciting momentum, opening for rising stars like Nikki Lane and Amanda Shires and playing to a wider audience.

Dirty Dollhouse is the multi-genre music of Philadelphia-based artist Chelsea Mitchell, a folk chanteuse with classical training and a retro-pop composer with a soft spot for country. After releasing her first lo-fi EP, Married in the Aviary, Mitchell received the Tri-State Indie Vocalist of the Year award and the lyrics to her song Nobody's Daughter were showcased in American Songwriter Magazine. Her follow-up EP, 25 Shades, saw a departure from traditional folk and embraced a Nashville vibe while 2017's full-length album Vinyl Child was a mixture of darkly contemplative pop songs and quiet, intimate confession. Drawing from many muses has produced a uniquely diverse catalogue, but it has also made it near-impossible to pin down who Mitchell sounds like. In sultry-toned moments you might hear Nicole Atkins, a soft bird-like peak could make you think of Kacey Musgraves, and a certain belt may summon Brandi Carlile. Though her vocals range from soft twang to unabashedly operatic, it would suffice to say that Mitchell's songs all fit under the same 'singer-songwriter' umbrella as her lyrics weave a diary page to life and her band expands on structural simplicity with subtle grace. As bassist Joshua Machiz, drummer Eric Lawry, and lead guitarist August John Lutz II are now full-time members, Dirty Dollhouse has found a new and exciting momentum, opening for rising stars like Nikki Lane and Amanda Shires and playing to a wider audience.

ONE OF THE RAREST MAINSTREAM ALBUMS FEATURING CLASSIC ATCQ SAMPLE GETS REISSUED FOR THE FIRST TIME ON VINYL

Jack Wilkins' highly sought-after Mainstream Records album "Windows" finally gets reissued on vinyl on Wewantsounds forty five years after its inital release. Produced by Bob Shad in 1973 the album, which is on many collectors' want-list, is especially cult for his rendition of Freddie Hubbard's classic "Red Clay," sampled by A Tribe Called Quest on ("Sucka Nigga") and Chance The Rapper. The album will be released in a deluxe gatefold sleeve featuring never-seen session photos and new liner notes by leading UK journalist Kevin Le Gendre.

Special Love is a future classic – bringing back thudding '90s flute house, paired with shuffling snare patter, swung hats and a killer female vocal. From the moment the chords and vocal hit you’ll know what special love is.

The flip takes you further back with funky basslines and tight 80s electro drums, started in 2013 Breakout was one of the duo’s first tracks, channelling Paul Hardcastle here to great effect. Gritty kicks and a huge SH-101 bassline introduce Theme, building with soaring melodies before dropping into a set closing anthem.

Equipment used: Boss Dr-110, Korg Minilogue, Korg Z1, MFB Tanzmaus, Roland SH-101, Roland Alpha Juno, Roland D-50, Roland Juno 106, Roland Jupiter 6, Roland TR-08, Yamaha DX21, Yamaha DX7.

UK house icon Mr. G makes his FUSE debut alongside longtime friend and collaborator Duncan Forbes, with the two partnering for their excellent ‘Time To Dip’ EP.

An artist truly regarded as one of UK house music’s greats, Colin McBean, aka Mr. G, stands today as an individual at the pinnacle of the genre as his trademark sound and legendary live sets continue to tantalise crowds across the globe. A special guest at FUSE’s final show at London’s iconic Printworks in March, the event that went on to influence the EP’s curation, the UK mainstay heads to Enzo Siragusa’s globally renowned imprint for the very first time this September as he delivers his ‘Time To Dip’ EP alongside longstanding friend and regular collaborator, Duncan Forbes. Friends for many years, having known one another since Forbes’ Animated project, their collaborations on Phoenix G and 49North and recent LP have seen the duo uncover a selection of high- quality cuts from across the house spectrum - and here they showcase their innate chemistry across four tracks loaded with quality.

“Gotta say, this EP really is born outta standing on the stage before my set at FUSE at Printworks and listening to what was being played. When I got back I said to D that I wanted do something based around what I had heard, never really thinking Enzo or FUSE would get it, but how wrong we were. It’s another fab meeting of minds with D, which makes this joint EP so different yet special... I feel it covers many different bases and tempos, a real gem. Looking forward to see what folk make of it.” - Mr. G.

Title track ‘Time To Dip’ is classy house music that packs a punch typical of that trademark sound we’ve come to know and love. It’s heavy and tough yet stripped back and unquestionably dancefloor focused, all softened by hooky female vocals and hazy textures. Duncan’s ‘Sherbert Dip’ mix highlights the vocal and brings it to the fore as shuffling drums and sweeping melodies build around the elements. The flip welcomes ‘All Night’, a delightfully vibrant track pairing rich rhodes, swirling leads and sharp hats with an abundance of subtle jazzy textures, before Forbes’ ‘In The Zone’ remix delivers an immersive, heady and dubby late-night voyage for a mesmerising final ride.

Hotflush continues its celebratory 20th anniversary year with a vinyl-only sequel to Scuba’s Record Store Day UK release, “Hardcore Heaven”.

‘Hardcore Heaven II’ develops the theme of that first release back in April. Taking influence from producers like Top Buzz, Nookie, and Foul Play, the familiar collision of hard-edged beats, euphoric breakdowns, and helium vocals gets a Scuba-in-2023 update.

The tracks on this EP add a twist of twisted breaks, early 2-step, and classic broken beat to the mix, as well as some moody vocal rubs and the customary dancefloor flavours.

The six tracks included here are presented on red and black splatter vinyl, limited to 500 copies with definitely no represses.

Sung by I Jah, co-produced by First Eye, with guitar by James Shepherd and harmonies by Tree (a classical singer from Trinidad), this is immediately identifiable as a classic in the truest traditions of the Caribbean community. Add it to your playlists, honour the memory of the Windrush Generation and discover exactly why they had to be Tuff Like Iron

Restless Mashaits are based around the core of Jil and Stuf, who released a sizeable amount of nu- roots classics throughout the 90s and 2000's.

* Recently becoming active again, the Mashaits crew come with two prime-cut instrumentals - `Rasta the First’ & `Restless Mashaits’ - in a traditional roots steppers style with horns ablaze, with both tracks complimented by dub mixes courtesy of Russ D of The Disciples.

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.