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MUSIC BY MADLIB / ARRANGED BY KIEREN HEBDEN (Four Tet)

Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs.

“A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

Immerse yourself in the enchanting world of 'Perfections', Koralle's new EP, now available on Little Beat More!

Koralle, aKa Lorenzo Nada, musician, beatmaker and producer, formerly an underground legend under the moniker Godblesscomputers, returns to put his 'hands in the dough' a few months after the release of his third album 'Insomnia', fusing jazz vibes with the elements that characterise the deep roots of hip-hop in four stylish pearls that capture body and soul in an increasingly intimate dimension.

Listening begins with the EP's title track, "Perfections," a perfect chill awakening, accompanied by fleeting piano notes and a bass drum and snare rhythm in the tradition of the beatmaking masters.
The second track, "Leaf," hints at melancholic and mysterious nostalgic undertones, to be followed by the single "From the Heart," which features the extraordinary participation of Brooklyn lyricist Awon, a mainstay of American jazzrap, who fits in perfectly with Koralle's eclectic sound world.
Finally, the fourth track, 'Come Back to Me Baby,' is a homage to the blues and black music roots of the 1950s, an invitation to rewind the tape and listen to the album all over again.

The EP is enriched by the art of Bernardo "Beerbo" Raspanti: a brightly coloured and variegated coral that tells of the different influences that come together in the artist's work and of a profound and engaging musical experience that will enchant connoisseurs and fans of the noble art of beatmaking.

Immerse yourself in the enchanting world of 'Perfections', Koralle's new EP, now available on Little Beat More!

Koralle, aKa Lorenzo Nada, musician, beatmaker and producer, formerly an underground legend under the moniker Godblesscomputers, returns to put his 'hands in the dough' a few months after the release of his third album 'Insomnia', fusing jazz vibes with the elements that characterise the deep roots of hip-hop in four stylish pearls that capture body and soul in an increasingly intimate dimension.

Listening begins with the EP's title track, "Perfections," a perfect chill awakening, accompanied by fleeting piano notes and a bass drum and snare rhythm in the tradition of the beatmaking masters.
The second track, "Leaf," hints at melancholic and mysterious nostalgic undertones, to be followed by the single "From the Heart," which features the extraordinary participation of Brooklyn lyricist Awon, a mainstay of American jazzrap, who fits in perfectly with Koralle's eclectic sound world.
Finally, the fourth track, 'Come Back to Me Baby,' is a homage to the blues and black music roots of the 1950s, an invitation to rewind the tape and listen to the album all over again.

The EP is enriched by the art of Bernardo "Beerbo" Raspanti: a brightly coloured and variegated coral that tells of the different influences that come together in the artist's work and of a profound and engaging musical experience that will enchant connoisseurs and fans of the noble art of beatmaking.

Authenticity is important in music culture, at least to those whose relationship with it is a lifelong love affair. As listeners, we instinctively respond to artists whose musical output is an authentic representation of their inspirations, experiences and working methods.

By any measure, Guillaume Metenier’s collaborative Soul Sugar project oozes authenticity. It began in the late 2000s as an outlet for the virtuoso organist and producer’s updated takes on ‘60s and ‘70s soul-jazz and Hammond funk, but over the years it has evolved into something entirely different: a vehicle for classic dub and reggae inspired musical fusions made in collaboration with friends and like-minded musicians. As a result, Soul Sugar albums mix impressive musicianship with great grooves and untold nods to the sounds and artists that have helped shape Metenier’s musical outlook.

This authentic approach and soul-enriching sound is naturally in evidence on Soul Sugar’s firth studio set, Just a Little Talk, which is set to be released by Metenier’s own Gee Recordings label in March 2024. This time round, Metenier’s close circle of musical collaborators includes Blundetto, Samuel Isoard, Yvo Abadi, Jolly Joseph, Jahno, Shniece, Slikk Tim and Leo Carmichael. While many are old friends who have appeared on previous albums and singles, there are some first-time collaborators too.

This familiar-but-also-fresh approach is mirrored by the blend of tracks on offer on Just a Little Talk. New songs and instrumentals sit side by side with a small selection of on-point cover versions – something Metenier has been doing since the inclusion of Jimmy Smith and Dr Lonnie Smith covers on 2009 debut album Nothing But The Truth. Memorable covers since have included ‘Why Can’t We Live Together’, ‘I Want You’ and ‘Never Too Much’, all featuring the honeyed voice of Leo Carmichael.
This time round, the headline-grabbing covers are undeniably special. You’ll find takes on Curtis Mayfield’s ‘Makings Of You’, re-framed as a languid roots reggae song featuring voiced by the returning Carmichael, and Donald Byrd’s ‘Blackbyrd’, which Metenier has brilliantly re-imagined as a fabulous fusion of Studio One dub and Blaxploitation funk.

Yet it’s the album’s original compositions that arguably stand out. For proof, check lovers rock-influenced reggae-soul treat ‘The End of Your World’ (featuring heart-aching roots style lyrics and Junior Murvin-esque lead vocals by Jolly Joseph), the similarly conscious ‘Just a Little Talk’ and recent single ‘Top of My List’– an effortlessly emotive gem marked out by Metenier’s weighty dub bassline and Shniece’s incredible lead vocal.

The original instrumentals, in which Metenier often trades licks and solos with guitarists Slick Tim and Samuel Isoard, are similarly impressive – and, to return to our theme, as authentic as they come. Fittingly, one of these – ‘Tubby’s Ghost’ – was originally written and recorded in 1998 with bassist Patrick Bylebyl, who was then Metenier’s partner in a project called Seven Dub. It is, then, a new cover of one of Metenier’s own tunes – and a pleasingly heavyweight one at that. It delivers a genuinely pleasing conclusion to Soul Sugar’s most true and authentic album to date.

ORANGE VINYL

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

Stix Records, a sub-label of Favorite Recordings, presents the 3rd release from its new Mellow Reggae Series project. Following two stunning covers of Bobby Caldwell and Player alongside label mates Ethel Lindsey, Mato is now taking over the famous hit by Sylvia Striplin, this time inviting his longtime friend and singing partner, Lady Gatica.

Produced by Roy Ayers in the early 80s , “You Can’t Turn Me Away” belong to this kind of title recognized by everyone, while Sylvia Striplin remains a name known by just a few. Like always, Mato production skills perfectly fits with the original and his Reggae rendition sounds like coming out straight from Kingston.

While with her long experience singing Soul, Funk and Disco, Lady Gatica is also a perfect match for the vocals. Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

Hold on to your mind! Led by Belfast- born phenom David Lewis, Andwella made three LPs circa 1970 for London's Reflection label, redolent with Cream-y rock workouts, soaring post-Sgt. Pepper psych experimentation, and earthbound laments The Band might've dreamt up at Big Pink. Barely heard back then, they now conjure a popular rock fantasia to challenge the most expertly composed and orchestrated songs of the era. This deluxe set includes meticulous reproductions of the band's 3-LP discography, plus an ephemera-packed booklet detailing Lewis's brief moment as a downbeat songwriting visionary at the height of his powers.

Hold on to your mind! Led by Belfast- born phenom David Lewis, Andwella made three LPs circa 1970 for London's Reflection label, redolent with Cream-y rock workouts, soaring post-Sgt. Pepper psych experimentation, and earthbound laments The Band might've dreamt up at Big Pink. Barely heard back then, they now conjure a popular rock fantasia to challenge the most expertly composed and orchestrated songs of the era. This deluxe set includes meticulous reproductions of the band's 3-LP discography, plus an ephemera-packed booklet detailing Lewis's brief moment as a downbeat songwriting visionary at the height of his powers.

The cheekiest band in the land is back with ROCKMAKER, The Dandy Warhols' 12th studio album. Produced and recorded by the band at their studio/funhouse The Odditorium in Portland, OR, ROCKMAKER sees the "Bohemian Like You" hitmakers celebrate their 30th year together with a sprinkle of glitter on their grime. Accompanied by guests Debbie Harry, Slash, and Pixies' Frank Black, The Dandy Warhols wrangle paranoia, untangle anxious discontent, and lust after life while the dance grooves go deeper, heady drones get weirder, and riffage fit for bong rips hammers. ROCKMAKER is the Dandy's clearest statement yet, at no sacrifice to their outré leanings. This is the sound of outsider alt-psych fixtures looking in as the walls come down.

Rockmaker by Dandy Warhols, released 15 March 2024, includes the following tracks: "Teutonic Wine", "I'd Like To Help You With Your Problem (Feat. Slash)", "Root Of All Evil", "Love Thyself" and more.

This version of Rockmaker comes as a 1xCD.

NONEXISTER thrives on the interplay of entrancing electronic energy and jarringly heavy catharsis. As if soundtracking an after-hours club at the end of the world, the Zurich, Switzerland band swing like a
pendulum from moments of industrial ecstasy to moshpit-ready fits

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer.

Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes.

Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

The fresh-faced folk pop band Stornoway seem promising: They play with guileless vigor, have a light-stepping chemistry as a unit, harmonize well. Their lead singer Brian Briggs has a lovely, pure high tenor, the kind of voice that effortlessly conveys simple longing. And yet, on their second album, Tales from Terra Firma, they continue to be almost crushingly dull, making well-appointed and cheerfully empty music that successfully communicates next to nothing.

Their Achilles Heel is a simple and unfortunate one, the same on Tales as it was on 2010's Beachcombers Windowsill. Stornoway are clearly in love with Celtic and British folk, and yet they can't write a memorable melody to save their lives. Try to sing along to the verse melody of "Zorbing", their most well-known tune, and pay attention to what your face muscles are doing; most likely furrowing with the effort of recall. Each of Tales' painstakingly arranged nine songs sinks underneath the weight of this insurmountable problem, which is a shame.

If you're making folk-pop, an inability to write a catchy melody is a difficult deficiency to overcome. Stornoway try valiantly with their complex arrangements, which quickly grow exhausting. “You Take Me as I Am” is cluttered with horn charts and pointlessly banging piano. “(A Belated) Invite to Eternity” builds to a full Explosions in the Sky crescendo, with glimmering tremolo guitar and a “Tonight, Tonight”-style sweeping string section, but having built zero momentum and generated zero heat until that point, their planned fireworks display fizzles.

“Farewell Appalachia” follows the same pattern, with celesta, finger-picked acoustic and electric guitar all tracing an emptily pretty circle with nothing in the center. The melody of "The Great Procrastinator" is almost cleanly written enough to be memorable-- and then the ersatz Dixieland jazz interlude crashes in. Stornoway are deft players, and the transitions are tightly managed, but this is praise on the same order as praising the brushwork in a hotel-room painting.

Briggs’ lyrics are filled with uncomplicated images of the good old British countryside, but his lyrics trample over all these dew-covered fields with wordy, awkward phrasing: "And in the gathering dew, I was lucid as a floodlight,” goes a line from “(A Belated) Invitation to Eternity”. “There's a hunger in the air/ A lemon swollen in the trees" he bleats on “Knock Me on the Head”. On “The Great Procrastinator”, he sings that he is “a scientist with far too many metaphors and far too little data to conclude in time.” They don’t read particularly well, and they don’t sound much more natural when sung.

Tales From Terra Firma is a peculiar record-- carefree music that feels leaden; tuneful-sounding songs that offer no tunes to hold onto. They seem an odd fit for 4AD, a label mostly home to singular voices. They may be a mercenary signing, an attempt to ride the coattails of Mumford and Sons' success. But Mumford and Sons, as head-smack simple and pandering as they are, have a pretty crucial ingredient in their arsenal: they write anthems. In that regard, they have Stornoway pretty thoroughly beat.

PREGOBLIN II is a strange name for a debut album. For the artist who created it, Alex Sebley aka PREGOBLIN, its astonishingly heartfelt and brilliantly catchy assemblage of songs is the culmination of a tortuous genesis period. Its release finally, he hopes, will usher in a fresh, more positive chapter for him, a sequel to all the misery and bullshit up to this point – hence the title. The creative journey to this point has been labyrinthine and frequently painful. As far back as the early ’10s, Sebley was registering his embryonic talent alongside Lias and Nathan Saoudi in The Saudis, the chaotic pre-Fat White Family ensemble where he played guitar and co-authored raw, post-punk material including FWF’s breakthrough tune ‘Touch The Leather’. PREGOBLIN receive a healthy 50,000 plays a month on Spotify. Previous singles include: Combustion which to date has amassed 2.2M streams and was dubbed ‘Single of the year’ last year in The Quietus. Other PREGOBLIN songs include Anna (flowers Won’t Grow), Love Letters, Snakes & Oranges and Wimpy & Wimpy Love with the Pop Group. “PREGOBLIN II’s genre-straddling dexterity and melodic riches mark it out as a loser classic fit to rank alongside Beck and Daniel Johnston. The tunes are memorable and the execution’s forward-facing and inspired” ★★★★ MOJO MAGAZINE // Live Shows February: 2nd Friday London - Amp Studios (with Harry Merry) 17th Saturday Leicester - Academy 2 (with Pip Blom) 19th Monday Cambridge - Junction 2 (with Pip Blom) 20th Tuesday Brighton - Chalk (with Pip Blom) 21st Wednesday London - Heaven (with Pip Blom) 24th Saturday Bristol - Simple Things Festival 25th Sunday Milton Keynes - MK11 (with the Libertines)

PREGOBLIN II is a strange name for a debut album. For the artist who created it, Alex Sebley aka PREGOBLIN, its astonishingly heartfelt and brilliantly catchy assemblage of songs is the culmination of a tortuous genesis period. Its release finally, he hopes, will usher in a fresh, more positive chapter for him, a sequel to all the misery and bullshit up to this point – hence the title. The creative journey to this point has been labyrinthine and frequently painful. As far back as the early ’10s, Sebley was registering his embryonic talent alongside Lias and Nathan Saoudi in The Saudis, the chaotic pre-Fat White Family ensemble where he played guitar and co-authored raw, post-punk material including FWF’s breakthrough tune ‘Touch The Leather’. PREGOBLIN receive a healthy 50,000 plays a month on Spotify. Previous singles include: Combustion which to date has amassed 2.2M streams and was dubbed ‘Single of the year’ last year in The Quietus. Other PREGOBLIN songs include Anna (flowers Won’t Grow), Love Letters, Snakes & Oranges and Wimpy & Wimpy Love with the Pop Group. “PREGOBLIN II’s genre-straddling dexterity and melodic riches mark it out as a loser classic fit to rank alongside Beck and Daniel Johnston. The tunes are memorable and the execution’s forward-facing and inspired” ★★★★ MOJO MAGAZINE // Live Shows February: 2nd Friday London - Amp Studios (with Harry Merry) 17th Saturday Leicester - Academy 2 (with Pip Blom) 19th Monday Cambridge - Junction 2 (with Pip Blom) 20th Tuesday Brighton - Chalk (with Pip Blom) 21st Wednesday London - Heaven (with Pip Blom) 24th Saturday Bristol - Simple Things Festival 25th Sunday Milton Keynes - MK11 (with the Libertines)

When accidents happen, they are normally over in seconds, sometimes minutes; this one has been going on for 20 years. It is two decades since the members of Emile Parisien’s quartet played a jam session together. At the end, they looked at each other in disbelief. They had not just been hit by a collective musical thunderbolt, they also knew they had just brought...well...something...into being. The common ground between them was jazz, but each had all kinds of seeds to sow in it, from classical music and contemporary sounds to rock, electronica and chanson. Saxofonist Emile Parisien, Pianist Julien Touéry, Bassist Ivan Gélugne and drummer Julien Loutelier rip up labels, break down barriers, upset codes, and yet they know exactly where they are headed. There is a shared obsession with narrative. “The central axis of the quartet has always been storytelling,” Parisien emphasizes.

“Let Them Cook” is like a breath of fresh air, and with a band sound now firmly and unmistakably of 2024 rather than 2004. There was a particular turning point: at a concert in Sweden near the end of their “Double Screening” album tour, they had taken a chance and tried out a move from an entirely acoustic sound to incorporate some electronics.It worked, so they stayed with it: they found that these electronic punctuations never polluted the band’s DNA, but rather stimulated it. The electronic apparatus was clearly additive to the stories of these compositions, the way it all fitted together was astounding.

Which brings us back to the ever-present question: how do you get away from the classic jazz quartet of sax, piano, bass and drums? “We’re always trying to find the answer! There’s no point in redoing what the John Coltrane and Wayne Shorter groups did, because in many ways you’ll never reach their level.” “There’s a certain road in life most people walk on,” Wayne Shorter once said, “because it’s familiar, and they can jostle to get in front. I prefer to take a different road that’s less crowded, with many forks, where you get a wider view of life. I call it ‘the road less travelled’. That’s where I want to be.” In the year which marks its 20th anniversary, Emile Parisien’s quartet has never been more in tune with the thinking of one of its main influences.
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Les Égarés

Les Égarés

From the cold corners of the Canadian soil, Illect's Newselph returns with some fiery furnace baked heat in the form of a remix album. On If It Ain't Broke, Remix It, Newselph carries on tradition in the spirit of Hip Hop legends like Pete Rock, Erick Sermon and Buckwild in the sacred art of remixing and refixing. Like the boom baptists before him, Newselph's ear hears transmissions reserved for angels and dolphins. He takes tracks that in their original incarnations are perfectly fine, banging even, and gets all up in the inner workings of said slaps to create something entirely different. For his latest release, he mines his backyard and reworks ten tracks from his Illect labelmates. The lead single, Those Were The Days, features the UK's Kinetik and BREIS. Newselph turns breezy into bluesy, and the track morphs into a makeshift teleportation device to a simpler time when fat laces, arcade games and handwritten letters reigned supreme. The Flowers remix features Jurny Big and Brand Nubian's most recognisable voice, Sadat X. The two emcees come together to the world and the roles they play within it. Newselph's push-and-pull guitar groove would fit perfectly as the backdrop for a campfire convo filled with nostalgic stories and witty anecdotes. Things get deeper than Atlantis on Matters Of Man, where Newselph again links up with his man, Sareem Poems, and one-third of the Ugly Heroes crew, Chris Orrick. Serving up a healthy slice of adult contemporary musings, the two rhyme writers break down this thing called life with the kind of knowledge, wisdom and understanding that would make King Solomon chill. Like watery clay in the hands of Sam Wheat and Molly Jensen, Newselph scrapes and shapes a rubbery bassline, dreamy droplets of keys and pensive melodies into a reassuring ode of optimism. Other guest appearances on the album include Sivion, Sojourn, MidCentury Modern, Ozay Moore, Dre Murray, DJ Because and many more. Like the classic TV show The Wire, all the pieces matter, and the sum of parts come together seamlessly to form something more meaningful.








[h] 9. Matters of Man (Remix) [

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

Returning to Intrepid Skin after her brilliant debut EP, and following on from a string of acclaimed releases since then, Berlin-based producer, DJ, and label owner Valerie Ace presents four new cuts of powerful hard dance and techno. Strass and Stress is out 1st March as both vinyl and digital.

With a background in organising DIY raves and a commitment to community-led efforts in electronic music, Valerie carefully fuses references from a range of genres into a singular, contemporary take on techno. Guided by an instinctive ear for experimental, groove-driven frameworks, her strain of dance music is hard-edged but mischievous, playful but heartfelt.

Diving straight into the peak hours, opening track 'Taking a Risk' is a swirl of hard kicks, frantic alarms and distorted leads; a statement of intent for what is to follow. Hot on its heels is the aptly-titled 'Slay'- a marching roller with double drops of acid, warped sonics and echoing glitches. Plunging into a hazier zone, 'Anxious not Afraid' takes an intoxicated spin on psytrance, building a vast acoustic space with equal parts tension and release. Closing off the EP, 'How To Fit In' jumps back onto the floor with an unrelenting spiral of
industrial-leaning hard drum chaos.

Strass and Stress is an all gas no brakes package of four crucial cuts from a producer on top of her game.

Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Hotlanta Orange Marble Color Vinyl.
Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Although 30 years after its birth this fundamental electronic gem called 'Reflections' has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner.

While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK.

If we look back, 'Reflections' is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early 90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved.

Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs 'The Priestess' –never released on vinyl before– and Forgotten Memory –until now unreleased and rediscovered in one of the DATs dating back to 1992 from the 'Reflexions' recording sessions. We are therefore facing the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.

"10th anniversary product suite for Nick Mulvey’s debut album, ‘First Mind’.“Nick Mulvey’s debut is a charmingly simple and rarely produced album full of beautiful melodies, extensive guitar skills and exotic ryhthms – it feels like the missing soundtrack for the beginning of a perfect summer.” NBHAP
“A total package of pop hooks, instrumental genius and gorgeous rhythms, Mulvey presents us with an intelligent record that demonstrates his passion for sounds outside of insular scenes.” THE LINE OF BEST FIT
“‘First Mind’ is captivating, full of intricacies and influences that should see it celebrated as one of the great albums of 2014.” CLASH"

The world of Country Music is one of tradition and reverence, it is then only fitting that two uniquely special Rock & Roll artists, whose music educations are steeped in Country and Gospel, offer their interpretations on Hank’s music. Jerry Lee Lewis and Johnny Cash, each offer their take with ten versions on Williams’ Country standards: ‘Hey, Good Lookin’’, ‘I could Never Be Ashamed Of You’, ‘I Can't Help It (If I'm Still In Love With You)’, ‘I Heard The Lonesome Whistle’ and ‘Cold, Cold Heart’ - performed by Cash. With ‘Lovesick Blues’, ‘You Win Again’, ‘Your Cheating Heart’, ‘Jambalaya (On The Bayou)’ and ‘Settin' The Woods On Fire’ – delivered by Lewis.

Syncrophone proudly presents 'Proceed with Caution' by Detroit's Filthiest. This 4-track catalog masterpiece is a rhythmic exploration, featuring infectious funk-infused beats and a distinctive style that pays homage to the city's illustrious musical heritage. Detroit's Filthiest seamlessly blends tradition with innovation, creating an electrifying experience that echoes the Motor City's iconic sound.

Feedbacks :

Luke Slater : dope
Serge (Clone) : Sick release! Another banger from Dj Nasty!
Elena Colombi (NTS) : Check Out the Technique is great!
Lukas Wigflex (Wigflex) : wonk
Tijana T : huge fan!
Hodge (Livity Sound) : lovely
Eclair Fifi (Lucky Me / NTS) : fk yeah 5/5
Monty Luke (Rekids / Black Catalogue) : fear in your eyes is a banger
Dave Clarke (white noise radio) : Will support ! Love the first track
Marcel Dettmann : thx
Machine Woman (Take Away Jazz Records) : cool
Ben Sims : Technique is my pick, thx!
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : very slick
Blasha & Allatt (Meat Free) : Fire! Up In Smoke + Nuttin But Chedda are the ones for me :) Thanks, Steffi x
Lena Willikens (Cómeme) : Fear In Your Eyes for me!
Lauren Flax (The Lot Radio/ Young Turks / K7) : incredible EP, thanks!
David Martin (Dimensions Soundsystem) : his is superb. Love it! Thanks DM
Amy Dabbs (Shall Not Fade, Distant Horizons, SlothBoogie, ) : Beautifully sleazy - love it
Bloody Mary (Dame-Music) : track 2 :))) thanks
DMX Krew (Breakin Records / Fresh Up) : Nice trax :) Will try to fit in my December show for Rinse FM.
mi-el (NTS show) : heavy

The title of Staś Czekalski’s debut translates as ‘Adventures’. It’s fitting for an album that invokes feelings of exploring, roaming, ambling through bustling cities and changing seasons, around castles and swaying fields, down the pixelated paths of old computer games, and all the way home.

We get the sense of being on some carefree yet critical quest, with Staś taking on the role of narrator as much as composer. Part fable, part Moomins, part seek and you shall find, these boppy, wide-eyed and reflective tracks set imagination in motion.

These are sonic adventures in a more literal sense too, at once quietly bold and intricately arranged. Bouncing around a playful gamut of references, from the whimsically lo-fi electro-acoustic pop of Anne Laplantine through trip-hoppy bedroom ambient and indietronica, Staś sets this blend twinkling with his singular form of magical thinking.

Felix Machtelinckx is a singer, composer, producer and lyricist from Belgium. Featuring an array of film scores, dance soundtracks, pop, folk and electronic music, Felix's music resonates with a familiar, almost nostalgic patina, applied with a distinctly crooked touch. Through artistic collaboration, coaching and production, Felix has cut a dash in the pop and indie cult scenes of Belgium, especially with his band Tin Fingers, who are feted as one of the most promising indie acts of the moment. Night Scenes, Felix’s solo debut is, in contrast to his other work, more humble and less traditional, roughly hewn from a series of ambient soundscapes, earthy textures and playful structures. Felix’s voice, normally the flagship of his music, becomes more of a distant memory, an indistinct emotion feathered throughout the music. Many lyrics are improvised, sometimes unintelligible, conjuring haunted, uncertain undertones. Similarly, the album is innately peripatetic to the core, being created, written and recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK. In the first instance, some of the tracks were created for the contemporary dance piece Doggy Rugburn by Brandon Lagaert of Kaiho and Peeping Tom; others were created enigmatically for a film that never surfaced; while the remainder are the product of more personal work and research. As Felix began to collect and review these disparate parts, the concept of a unified album began to evolve. With 'night' featuring as a suitably dark leitmotif, or backdrop to a series of emotionally fraught 'scenes', each track depicts a form of trauma, locked within the confines of the mind. Felix observes: "Imagine yourself in a dusty old room unable to sleep. Emotions, fears and other demons haunt your mind. This in-between state makes your mind reach for other worlds. This is Night Scenes." For the most part, Night Scenes was created using a variety of old, and rare, analogue equipment. With almost no digital editing, the record was primarily mixed through a vintage cassette desk, giving it a nostalgic character with a noisy undertone. Felix fully embraced the synergy of his emotional themes and retrograde gear, enthusing: "A lot of textures were created on an old Soviet synthesizer that causes a blackout when you hit the lowest note on the keyboard. The dysfunctionality of the synths was often used to create rhythm and texture." This unnerving ability Night Scenes has to comfort and confound the listener is summed up by Jordan Hudson, House Of Media producer, and music podcaster, when he concludes: "Some songs on the album have this sort of fleeting comfort and tonality, which dissolves into a subtle rhythmic/structural or modulated disarray the moment I settle into them - this really fits with my experience of the night .. This record is a winner, and will be something I'll listen to a lot from here on

"The 'Kashkaval EP' marks DJ 3000's fourth vinyl release, stemming from his acclaimed 'Mezë' album.

This EP encapsulates DJ 3000's evolution, weaving a narrative from his Albanian heritage to his current thriving career. 'Kashkaval EP' stands as his most intimate and comprehensive work to date, embodying a profound musical odyssey. It extends an invitation to all, urging them to partake in a celebration of diverse cultures and a symphony of sound that transcends geographical boundaries. Through meticulously crafted tracks, it guides listeners on a shared and cherished voyage, forging connections through the universal languages of music, culture, and food.”

Kashkaval - Is a cheese originating from the Balkans. When producing this electro track, it all came together quite swiftly, to be honest. I only needed one final element to complete it. Coincidentally, my dad was discussing this cheese at the time, so I recorded him talking about it on my phone and seamlessly integrated it into the track. I applied various effects and kept it subtle in the mix, making it almost unrecognizable in Albanian. The chords fell into place after that.

Constant Sorrow - This song took shape during the pandemic. I had nearly completed the concept, and for some time before that, I had been in conversation with producer and vocalist Keith Caden. I believed his vocal talents would be a perfect fit for this track. I shared the track and its title with him, and he subsequently wrote the vocals, even contributing harmonica and a few other embellishments. I'm particularly fond of this electro-style track, and Keith's vocals truly bring a unique and special dimension to it.

From The Ashes - Electro played a significant role in this album. When I mention electro, it's not the typical style of tracks but rather a more unique approach. The vocals on this album truly infuse profound meaning into the songs, and I have a deep appreciation for the way the chords resonate and create a dynamic bounce in the tracks.

Crown Royal - There's an amusing backstory to the essence of this track. "Crown Royal" harkens back to a liquor we used to enjoy back in the day. We'd have our Crown Royal and pair it with those Black & Mild cigars – quite the combo! This track was born from the memories of those late-night drives back home from the club.

Happy we can introduce a new addition to our catalog THINNER005, an EP called

“ & . . “

as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash

“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.

Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.

_

KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.

Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.

atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)

KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.

,

On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.

Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.

& . .



We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,

The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .

Nonetheless, they a good long time friend and perfect fit for this release.

The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.

A cycle of songs about dead dogs. Dealing with loss, grief and loneliness, they recount the tales of lost dogs both real, metaphoric and mythic, and use our relationship with and treatment of dogs as a measure of our humanity.

Collaborating as The Unattached on this record are Joad R Wren, sister Gwenifer Raymond, uncle Neil White, and daughter Celia, along with friends Darren Hayman, Ian Button, John McGrath and Holly Rogers.

Joad notes: "The album was written and recorded during the height of the pandemic. I've no idea why it's taken so long to release it. I do know that it's a great pleasure to work – even at a distance – with such talented musicians, with many amazing albums in their back catalogues."

The final song was a surprise – especially to Joad – as Neil wrote it years ago about a forgotten dog, and it fitted beautifully as a coda here.

The songs are at once lush, sensitive, bleak and unflinching - there's a similar feeling to something like Lou Reed's 'Berlin', or the darker moments of Roy Harper. The LP comes in a numbered, hand-printed linocut sleeve with a 20 page booklet of lyrics and art.

The sleeve is a bit special. The oil-based ink used on this hand-printed sleeve may feel sticky to touch, and can potentially transfer to other surfaces. Please handle and store this record carefully.

It's an edition of 100, and because of the hand-printing process each cover is imperfectly unique and uniquely imperfect (and hand numbered).

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

splattered yelow & red vinyl

A1 - Phases Of Reality
Easing into the proceedings in subtle yet impactful style, Phases of Reality offers an eerie, soothing aura of sound with bells and horns and a progressive, powerful bassline hook. The melancholic atmosphere grips the listener throughout, intensely wrapping itself around the classic old school breakbeats to create a collage of audio fit for both the dancefloor and that late night contemplative drive home in the rain.
A2 - Impressions
Instant double snare breaks with a hint of apache set the tone for an energetic, thrusting track as ASC flexes his creative spark with Impressions. Rhythmically dashing through a dreamily complex assortment of wispy, thoughtful synths and stretched vocal samples, in lieu of a breakdown the drums suddenly switch pattern for the second half, dialing up the considered intensity which is carried through to a suitably abrupt filtered conclusion.
AA1 - Solyaris
An enchanted female vocal sample opens and punctuates Solyaris, a deep, absorbing track which fuses the heft of ASC's classic analogue amen breaks with inquisitive melodies and suspenseful synth work to construct a breathtaking cosmic amen mover for the dancefloor. Sci-fi FX add to the interstellar vives in the respite of the breakdown, before the headline breaks resume their aural assault on the senses.
AA2 - Oblivion
Mixing up the vibe for an eclectic conclusion, Oblivion utilises a uniquely scattershot hot pants break pattern, with stark clusters of hi hats and sharp snares playfully juddering around a patchwork of echoed mini melodies and a soothing overarching tune. Deep sub bass accentuates the track, occasionally flecked
with delicate samples resulting in a great DJ tool and a quirky
energy to savour.

marbled green vinyl

A1 - The Cartographer
JLM Productions opens the EP with an inspiring, uplifting intro leading wonderfully towards an intricate old school atmospheric drum loop, laden with sprightly deep bass tones with crisp, clear hats and cymbals. Luscious, long swaying strings weave their magic on the ears as catchy keys sneak around the movements of a cartographer far from silent, to create a composition which will rightly sit atop your playlist for some time to come.
A2 - Fata Morgana
Showcasing his diversity in the genre and an immense ability to seamlessly mix old school jungle sensibilities with a modern atmospheric twist, Fata Morgana sees JLM Productions fuse a medley of swirling, enveloping atmospheric pads and a tight two-step breaks to form a collage of inspired vibes which will fit perfectly within a synth wave-style dancefloor set - or a good old throwback jungle mix.
AA1 - The Navigator
Breaks are on the agenda immediately with The Navigator, bringing forth a myriad of fluid drum samples, filtered and chopped with old school sensibilities shining through. Tense pad work builds the vibe with washes of synths before the breaks switch up, throwing in more surprises to the mix alongside along early 90's jungle inspired melody. We are continually treated with layers of detail and intricacies with FX as the breaks reach their final form. A real treat.
AA2 - Aleya
Closing out the EP, we see JLM Productions deftly toying with the legendary Apache break, which features heavily in the varied cluster of classic jungle breaks on display. A diverse selection of pads and keys tint the engulfing atmospheric soundscape with a quiet Sci-Fi intensity, developing and
evolving towards a stunning breakdown before the breaks
return, eventually exhaling towards a fittingly epic outro.

Western Approaches, a fitting title for a band who's spent much of the last two years living their American dream, however you'll find its origins are a lot closer to home.

An old World War II Naval base in Liverpool city centre shares the same name and it's no coincidence. The album was conceived on the docks, a new location for the band and again much closer to home for the boys.

It seems the further afar they play the tighter their grip on their roots become, playing their biggest headline show to date in Bootle a small town in North Liverpool where some of the lads grew up.

The Cherry Boppers are back with six fiery artifacts of promiscuous funk recorded in collaboration with the vocalist, also from Bilbao, Patricia Reckless, in this mini-album in 10-inch vinyl format. Pure rhythm from head to toes. As is well known, funk fuses what has historically been labelled soul, rhythm and blues, jazz and rock, and The Cherry Boppers (TCB) have undoubtedly created their own promiscuous formula based on a fine selection of styles that predate hip-hop. Active since 2004 and convinced advocates of jazz-funk and instrumental funk, there are very few examples of vocal tracks in their discography. However, in 2014 they released the EP "TCB meet Dr. Baltz" (Brixton Records-Soul Series) in which they successfully covered three classic rhythm and blues standards with lyrics in Spanish. Now, after five years of publishing drought, they repeat the experience with the stellar collaboration of the vocalist, also from Bilbao, Patricia Reckless, musically formed in the band "Bohemian Soul". The powerful and educated voice of Patricia Reckless blends perfectly, as one more instrument, into the compact rhythmic machinery of TCB, giving the 6 tracks of this mini-album (the 6-track EP thing doesn't quite fit) a structure, perhaps, more familiar to a non-specialized audience. But let's not get carried away, the textures, the silences, the "on the one!" beat, the breaks, the stately Hammond organ, the brilliant brass, the forceful bass lines, the precise percussion, the wah wah... are all 100% Cherry Boppers. "The Cherry Boppers meet Patricia Reckless" remains faithful to that analogue funk sound that makes the band proud of a long and vocational career in the genre. And it is also an album full of details, of paths and instrumental lines to be discovered on multiple listens.

Get on board for a sonic journey with the "N.A.O.M.B. (Nugatti All Ova Me Butty)" 20th Anniversary Remastered triple album!