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Inland Knights’ reputation for delivering groove-centric, melody-driven tracks has made them household names in the house music community. This collaboration not only serves as a nod to their contributions but also introduces their sound to a new generation of listeners through the vinyl revival.

The tracks selected for this special vinyl re-issue are 'The Game,' 'Deep In Original Mix,' and 'Slumming It.' These selections are celebrated pieces within the house music scene, known for their groovy basslines, compelling melodies, and polished production, embodying the essence of Inland Knights’ impact on the genre.

Adding a contemporary twist to the re-pressing, Housetown Records has also enlisted Jake Childs to provide a special remix, enhancing the release with his innovative touch. Childs, whose releases on Drop Music have garnered significant acclaim, brings a fresh perspective to the project, promising a unique listening experience that honors the legacy of the original tracks while pushing into new sonic territories.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

2024 Reissue

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”

With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

French duo Nabil Vortex is back with fresh sounds! This new record blends hard electronics, acid, and bass music with traditional and popular Algerian music. This EP highlights these underground pioneers, turning their unique style into unforgettable dancefloor bangers.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colerine Records! You could say that Parlor Greens are greater than the sum of their parts.. however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamar Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio, So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry, Within the first ten minutes of everyone plugging in, a song was written and recorded, "West Memphis". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven outs. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 3BB tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, in Green / We Dream.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colerine Records! You could say that Parlor Greens are greater than the sum of their parts.. however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamar Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio, So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry, Within the first ten minutes of everyone plugging in, a song was written and recorded, "West Memphis". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven outs. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 3BB tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, in Green / We Dream.

Highly anticipated 3rd album by FIGHT THE FIGHT. "Shah Of Time" is their most ambitious record to date. Just came back from an extensive European tour with Leprous. Previously shared the stage with Satyricon, High On Fire, Hatebreed, Devind Townsend Project and more!

With a new line-up, a fresh inspirational breeze caught Fight the Fight. This led the band into a psychedelic metal universe and sent them into a genre bending fusion of prog and metalcore. This drift has sparked growing interest and anticipation to the bands upcoming
release. Fight The Fights third album "Shah Of Time" is their most ambitious record to date and is set to be released May 31st 2024. With three new singles out from the upcoming album, Fight the Fight have seen an exceptional rise in numbers gaining more that 30.000
monthly listeners on Spotify alone. The new constellation just came back from an extensive European tour with Leprous, after holding back on live performances in 2023. This year Fight the Fight are ready to fully blow the mind out of their rapidly growing new audience, and fans can expect even more exciting tours and live dates when the album is released.

The Big Picture is the 2014 studio album by Kat Edmonson, who calls her music vintage cosmopolitanism pop. For the recordings of this album, she collaborated with acclaimed producer Mitchell Froom (Crowded House, Suzanne Vega). On The Big Picture, according to NPR, “she's a savvy student of '60s film soundtracks, jazz-pop stylists and Brill Building songcraft, nodding to her influences at every turn. But her take on those stylized musical languages is so fresh and fluent that the referencing never feels cumbersome."" The album features standout tracks “Rainy Day Woman”, “Oh My Love”, and “You Can’t Break My Heart”, which remain fan-favourites to this day. The Big Picture is available as a 10th anniversary edition of 500 copies on white & black marbled vinyl.

Sweet soul and sentimental music has never really gone out of style, and in the particular cases of the innovative wave of 1950's filin era Cuban boleros, or 1960's Nuyorican street soul, they both remain a thriving beacon of timelessness and universality, capturing a particular style of breezy Caribbean romantic music that has stubbornly thrived in the tough concrete landscape of New York City.

Perhaps there is some love in the heart of the city, as the new ensemble La Triunfadora has managed to tap into something of significant substance on their debut recording, Clasicos Sentimentales Para Una Nueva Generación. Co-produced by band leader Benjamin R. Juliá and renowned talent William Holland aka Quantic (recorded and mixed at the latter's Selva Recording studio in Brooklyn), the group has managed to capture the essence of this reemerging style of classic music, while further injecting their own inspired vision of experimental and psychedelic arrangements.

On A-side display for this debut 7-inch release on Names You Can Trust are two canonized Cuban boleros from maestro composer and guitarist Cesar Portillo De La Luz, stacked together in an old school continuous medley, and transformed with lush orchestration that has the talented musicians sparkling behind the duet of lead vocalists Candace Camacho and bandleader Juliá.

The B-side jumps from 1950's filin into Ralfi Pagan's iconic 1969 latin soul masterpiece "Hijo De Mama." Once again La Triunfadora peppers in just enough exquisite arrangements and musicianship to transform the original into something fresh, yet still guided from an analog sensibility, and ultimately performed with a familiar romanticism that these classic lovers' songs have managed to express over the decades to different generations.

Nowadays, fresh proponents of folk rock seem to prefer fiery delivery to vibrant depth of the pieces they perform, and it's a rare feat for them to explore the Stygian regions of a centuries-spun lore. However, David Carroll, an erstwhile member of SPINNING WHEEL who hasn't publicly practiced the art for decades, sticking instead to the luthier aspect of music industry, knew better when embarking on this project and inviting longtime fellow travelers for the ride. Those kindred spirits, tethered for years to FAIRPORT CONVENTION and GRYPHON, never ceased to be excited by the possibilities of delving into tradition, especially when there's no showcase to make out of tragedy inherent in familiar tunes, with filigree fed into songs per se rather than their perfunctory trappings. That's why "Bold Reynold" is so compelling without ever sounding flashy, the resulting gloomy tapestry stressing the ancient wisdom of every cut on offer.

Dope On Plastic a fresh new name in the jungle scene hauling from New York, but already making big waves among labels and DJ's across the pond in UK and Europe, with their ruff oldskool sounds and absolutely mental break choppage!
Definitely one to watch out for and happy to have their first release be on the Ruff 'N Tuff label.

Get a taste of everybody's favourite terrestrial with something extra, Jimi Tenor and his fresh brand of galactic balladry with two single versions from his upcoming album on Timmion Records, "Is There Love In Outer Space?". On the A-side, the title track effortlessly merges cosmic synth flourishes with a soulful backbeat, Jimi's smooth vocal and flute stylings, delivering a splendid questioning continuum to Sun Ra's similarly named statement. Flipping to the B-side, the mostly instrumental "Orbiting Telesto" launches us to the outer rings of Saturn with a healthy helping of vintage sci-fi movie soundtrack and library music themes. Accompanied by the down and dirty energy of Cold Diamond & Mink, Jimi's seasoned artistry shines through, showcasing his ability to blend celestial sounds with gritty moondust funk. With these two tracks, Tenor teases our appetite for the two cosmically themed albums in the pipeline for 2024. These songs crafted together with the Timmion crew serve as a testament to Jimi's unique ability to create captivating moods that transcend the usual.

DJ 3000 Unveils “Immigrant Son”

Techno maestro DJ 3000 is back with a fresh new release, the "Immigrant Son" EP, following the success of his recent "Work In Progress" EP. Set to captivate listeners once again, DJ 3000 infuses this latest project with deep familial ties and cultural heritage.

"Immigrant Son" is a heartfelt celebration of family and deep-rooted traditions. The track "Gëzuar," meaning "Cheers" in Albanian, blends traditional Albanian rhythms with the soulful essence of Detroit techno, creating a unique and compelling soundscape. Another standout track, "Kanuni (Traditë Mix)," draws inspiration from the Code of Lekë Dukagjini, further enriching the EP with historical and cultural depth.

Adding a layer of intrigue, "Part Time Prophet" invites listeners to interpret its meaning, showcasing DJ 3000’s ability to provoke thought and emotion through his music.

Since his first vinyl pressing in 2002, DJ 3000 has continued to push boundaries and explore new sounds. With six vinyl records released in less than a year, he shows no signs of slowing down. Committed to the art of vinyl, DJ 3000 continues to DJ exclusively with vinyl records, preserving the authentic and tactile experience of music.

"La Misma Fuente" is an album that could have only come from the mind of Yemanjo, and the music here reveals producer/musician Ben Harris in the full bloom of his artistic promise.

Translating as "The Same Source", the staggering variety of genre, sound design and featured artists here all relate to the concept that the world's diversity manifests out of an essential unity.

With guest singers and musicians from Mali, Colombia, Argentina, Hungary and beyond, "La Misma Fuente" pulsates with an irresistible combination of cracking electronic beats, hypnotic synths and bass, traditional acoustic instruments and vocals in many languages.

In the title track, Yemanjo's own harmonized Spanish vocals roil over a relentless dembow groove; elsewhere Malian vocalist Mariam Koné shines in both the mid-tempo house track "Juru Fô" and the Reggae-meets-Desert Blues anthem "Janfa". The instrumentals are no less captivating; "Bululú" is a combustible club banger with shades of kuduro, afrohouse and zouk rhythms, "Suena La Quena" is a bouyant uptempo house track with soaring Andean flute melodies, "Baobab" mesmerizes with interlocking ngoni licks, and "Bridge to Bamako" is a spacious trip-hop groove that finishes the record like a breath of fresh air.

Thematically diverse, melodically complex and rhythmically compelling, "La Misma Fuente" is a testament to the relentless wanderlust of its author, and a fine addition to the already legendary catalogue of Wonderwheel Recordings.



Ben Harris: sound design, arrangement, vocals, charango, trumpet, digital percussion

Mariam Koné: vocals on #2, #6

Fredy Velasquez: vocals on #5

Alex Nero: guitar, charango on #7, charango, quena, zampoña on #9

Onanya: ngoni on #2

Cosmic Nomad: ngoni on #4

Julia Gyulai: lead vocals on #8, back vocals on #5

Endre Molnar: guitar on #8, back vocals on #5



Mixed and mastered by Chris Cox at Veritas Mastering

Additional record engineering by Akos Varnai

repress soon !

Alex Kassian's extended rendition of E2–E4 promises a 12-minute electronic odyssey, tailor-made for diverse dancefloors from it’s spiritual home Ibiza and beyond. On the flip side, Mad Professor embarks on a club-oriented version excursion, a rare gem in its own right. This reimagining breathes new life into the classic, offering fresh perspectives for music aficionados everywhere. Hot tip for release of the Summer!

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

Paolo Rocco delivers his ten-track debut album ‘Life In Pieces’ this April on FUSE.

Born Canadian of Italian descent, Montreal-based DJ and producer Paolo Rocco has emerged as one of the most consistent names within house music over the past decade, with a wealth of material via the likes of Hot Creations, PIV, Berg Audio, Constant Sound, Taverna Tracks, and Rutilance Records showcasing his own take on house, deep house, and minimal territories. Having closed 2020 with fresh music on his own RAWMoments imprint, late-April welcomes the arrival of his biggest project to date as he makes his label debut on London’s FUSE to deliver his eight-rack debut album, ‘Life In Pieces’.

A body of work rich in classy collaborations with artists such as Robert Owens, Alix Alvarez, Kiki & Mavi and slick solo production, ‘Life In Pieces’ delivers a blissful journey through Rocco’s rich sound palette, revealing the most in-depth project of his career while marking his long-awaited debut on FUSE in style.

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

X CLUB. is the production duo of Ben Clarke and Jesse Morath. Founded in Brisbane/Meanjin Australia’s warehouse scene and exported to London and beyond, their music is inspired by early 90s techno all the way through to future-facing drum’n’bass, with X CLUB. carving out a space entirely of their own thanks to their authentic and eclectic take on dance music with serious consideration for underlying groove.

With releases on labels such as Steel City Dance Discs, SPANDAU20/CROWDS, 99CTS Records and Stay On Sight, X CLUB. have seen their records reach global audiences with frequent touring across the UK, Europe, North America, Asia and Australia.

New World Expression by X CLUB. is the third release on their own label HIDE THE JUNK, and finds the pair leaning more into house music than ever before, but still with the same distinctive X CLUB. edge. These tracks have been key moments to their sets over the start of 2024, going from demos in the studio to on the road club test in a matter of days, to being pressed onto fresh 12” wax for their most loyal fans within a matter of weeks. This EP is tried and tested house & techno that fans and DJ's alike have come to know and expect in X CLUB.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): “Haunted”/”Nothing Is Forever” and “I Believe In You”/”Someone Who Cares.” A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, “Faithful” (in mono), as a bonus track on the 1990s CD release of Dusty’s 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts.

Then, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —assembled Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release out on vinyl over 50 years later. All tracks are in stereo, while the liner notes on the new gatefold spread, penned by The Second Disc’s Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/ jumbled part of Dusty’s august recorded legacy, finally set right and available in its intended format. Out on metallic gold and purple “royalty” vinyl as befitting The Queen of Blue-Eyed Soul…limited to 1500 copies!

The Dip is a 6-piece rhythm and blues band from Seattle who blend the best parts of funk and soul street music with the bounce of rock n' roll dance halls to create timeless songs of love and life. 'Love Direction', The Dip's fourth studio record and latest album on Dualtone Records (following 2022's 'Sticking With It' which landed at #1 on Billboard's Current R&B Albums chart), is the first time in the band's career they have relinquished complete control.

The group produced the record themselves and enlisted audio engineer Josh Block who contributed a lush addition to the 11-song collection along with a full spread of talented guest musicians across the tracks. Distant horns, funkier guitars and even a touch of pedal steel guitar from Will Van Horn on the introspective "Fill My Cup", The Dip sound as crisp as ever while exploring new sonic territories. The result makes for a fresh, loose mood that feels equally familiar to the band's earlier work and a confident, bold re-introduction that features some more nuanced and intimate moments highlighting the ways in which the band has matured.

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

Yellow Vinyl

Seba smashes his way into 2022 with the much anticipated release of his third studio album, "Ingaro".

Prepare yourself for ten brand new tracks of Seba. Secret Operations presents the first LP in almost ten years, from a producer who believes albums are not to be taken lightly.

"Ingaro" takes it's name from the small island outside of Stockholm, which Seba has called home for the last 20 years and is also where he spent his formative years.

The new LP takes the listener on a soaring journey through the entire Seba sound. Whether it's the dark and insistent forces of "Horse Power", which grow and fold in on themselves throughout the track, or the blooming euphoric roller "Public Beauty". A fresh collection of tracks which contain the unmistakeable Seba DNA, which has helped cement the name Seba firmly into the world of drum and bass.

Any album is not complete without some guests joining along the way and Seba has also enlisted some helpers on the journey and the LP includes collaborations with Collette Warren, Björn Berglund, Samuel Lancine and Blackeye.

For many, Seba is a name they are very familiar with. From his early releases on Good Looking right through to the present day Seba has made a name for himself for his exciting and varied production.

His music draws influence from far and wide across the musical spectrum and his work alongside the legendary Paradox and vocalist Robert Manos have gone down in Drum and Bass history.

Not just famed for his work in the studio, Seba's sets have gained a reputation for their energy and emotion. One of the scene's unique veterans. Seba's work is inspiring producers and fans more than ever. An album which sets the bar high for 2022!

2024 reissue

American jazz pianist and composer Weldon Irvine dropped his fourth and some say best album, In Harmony, in 1974. It came originally on the legendary spiritual jazz outlet Strata-East and now gets reissued by Japan's equally well regarded P-Vine. It has got a fresh mastering job for the occasion so sounds as good as possible with standout cuts like 'What Are Ou Doing For The Rest Of Your Life' and 'Pleasure, Pain & Me' exemplifying Irivine's unique conversational style and ability to lay down spiritual jazz sounds that energies and refresh mind, body and soul.

Facta returns home to his own Wisdom Teeth imprint with ‘So is the sun’ - a bold EP of artful club reductions that distill his unique and playful approach into some of his most assured and direct works to date. As ever with Facta’s output, there is a moreish push-pull between functionality and creativity on display here. Infectious hooks are sculpted out of warping, plasticine sounds, whilst melodic splashes of colour are painted in broad, bright brushstrokes. Bleeping FM synths fizz into shot before oozing out of frame again, dripping splashes of neon colour over the record’s skipping, nimble rhythms as they go. There are a few key reference points at play here - in particular the light-footed grooves of early 00’s minimal house and the space-age synths of artists like DBX and S-Max - but these influences are totally refracted and subverted to create something fresh, contemporary and of its own. Produced and honed across a year, the tracks took shape slowly alongside regular club play from the label crew and a clutch of trusted DJs who road tested the tunes at various demo stages. The result is one of Facta’s most decisive and focused club records so far. The EP marks the Londoner’s first solo outing in over a year, following on from his acclaimed 2023 EP, ‘Emeline’, which was released on Anthony Naples and DJ’J’s Incienso imprint. It forms part of Wisdom Teeth’s busy schedule of 10 year celebrations, which includes a string of releases from new and existing label members, merch drops, and a global run of live showcase events.

Hailing from the legendary birthplace of techno, JR Disc brings a fresh perspective to the scene with their dynamic beats and infectious rhythms.

For fans of Montrose, Van Halen, and Hard Rock! Red Voodoo is breaking out on the scene with their electric stage presence, polished harmonies, and classic but fresh new take on Rock ‘n’ Roll. Based out of Sacramento, CA the group has been playing clubs since 2019 and released two singles “Rise Up” and “Bring It Back” in 2020. This led to opening spots for heavy hitters in rock such as rock n roll hall of famer Sammy Hagar, Bay Area legends Y&T, Everclear, Slaughter, and many more. Red Voodoo is the youngest band to date to play the Monster Of Rock Cruise alongside Alice Cooper and Buckcherry. Now Red Voodoo has just wrapped up recording at the famous Hyde Street Studios in San Francisco working on their5 track EP with Grammy nominated producer Jaimeson Durr (Don Henley, Sammy Hagar, Nancy Wilson, etc....). Red Voodoo consist of lead singer and frontman Dino McCord, Lead Guitarist Davin Loiler, Bassist Andrew Edwards, and Drummer Andy Nathan, and is summed up best by former Van Halen vocalist, “RED VOODOO is a breath of fresh air in today’s pop culture of music. You can hear the influence of all the classic hard rock bands from the 70s and 80s with a young fresh twist.”

“On the Move” is a tune originally released on a very rare 7” in the mid 70ts and became the title track of the BOBBY BYRD album in the year 1993 when the Godfather’s Godfather, at least Soulbrother # 1, as Fred Wesley calls him, probably the most warm-hearted and soulful gentleman on Planet Funk, was sitting in the living room/office of his back then, brand new label Soulciety Records in Hamburg, Germany, listening to some of his old 7” singles. When Soulciety released the studio album “On the Move (I Can’t Get Enough)” in 1994, the album became a somewhat hoped for, but still unexpected success. Rare Groove-enthusiasts the world over, who knew about Bobby’s songs as well as the ones he wrote with James Brown (e.g.: “Sex Machine”), plus all the Hip Hop-fans who dug him from the countless times his songs had been sampled (Eric B. & Rakim used almost all of Bobby’s version for their hit “I Know You Got Soul”), loved these fresh but original sounding recordings. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl, including the never released instrumental version on the flip side.

Critics have described Czech pianist Kristina Barta as "fiery, expressive, eloquent, and stubborn." This new album, "Endless Questions and Answers," features nine original compositions created for her new quartet, in collaboration with the world-renowned tenor saxophonist Jure Pukl. It signifies a fresh chapter in Barta's musical evolution.

All Black Everything, the debut EP by UK-based, Parisian bassist, vocalist and composer Amy Gadiaga, is an expansive, boundary-pushing 5-track collection showcasing prodigious bass playing and a voice brimming with power and emotion. It's a profound exploration of self-acceptance that presents both a celebration and acknowledgement of Gadiaga's deep-seated darkness.

Inspired by the 2020 Black Lives Matter movement All Black Everything confronts racial identity complexities and the challenges of being a societal 'black sheep' and sees Gadiaga courageously transform her insecurities into a narrative of self-empowerment.

Born to parents of Senegalese, Gambian, and Malian descent, and hailing from the outskirts of Paris, the multitalented Gadiaga has been making waves in the UK music industry since she moved to London aged 18. With a fresh and unique style that bridges the old school jazz tradition of musicians such as Betty Carter and Wayne Shorter with the raw, rootsy modern sound of artists such as D'Angelo, Stevie Wonder and Twinkie Clark, Gadiaga's breadth of ambition and revitalising approach have brought early critical acclaim and ardent fans.

Signalling the arrival of a significant new voice on the London music scene, All Black Everything communicates the liberating essence of embracing individuality and presents a journey through Gadiaga's personal struggles, standing as a testament to art's transformative power and encouraging listeners to find strength in their uniqueness. "All Black Everything is very much an exploration and embracing of one of my archetypes in life which is the black bird/black sheep" she explains. "That feeling of not thinking you belong anywhere, of being misunderstood and really tending to your own. No helping hand. But it's ok sometimes because you also feel like nobody can compete with you, you're one of a kind."

alphacut sets off into brushy tribal jungle

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

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

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

Our beloved Legofunk Records is back with a new fresh and vibrant wax perfect for your summer. This time with Matalo! and his 4 tracks Ep. Really hot stuff!

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

Airual002 proudly presents the "Devotion" EP, a mesmerizing journey into the realms of dub techno with great passion and devotion to tradition but approaching it `also with modern studio strategies and equipment.Mario Lauriano, a Naples native now based in Berlin, showcases his prowess in crafting meticulously designed dub techno with "Devotion."

The title track is a captivating fusion of pulsating rhythms and ethereal melodies, transporting listeners to another dimension. XDB's remix of "Devotion" amplifies the energy while retaining the essence of the original track, making it perfect for obscure dancefloors.

On the flip side, Lauriano's "Patiently Waiting" offers a mesmerizing exploration of broken atmospheric techno, complemented by a fresh and house remix from the legendary Samuel L Session.

"Devotion" EP is a testament to Airual002's commitment to pushing the boundaries of electronic music while staying true to its roots. With its exquisite blend of elegant dub techno and atmospheric sounds, this release is set to leave a lasting impression on listeners.

Hard-rocking Brooklyn trio Sir Lord Baltimore’s highly sought-after debut album is a legendary precursor of the heavy metal genre, a 1971 Creem review of the disc perhaps the first to ever use the term. The group benefited from the songwriting and production team of Mike Appel and Jim Cretecos, Appel the future manger of Bruce Springsteen and Cretecos already heady from success with The Partridge Family; recorded at Vantone Studios in New Jersey, it
was mixed to fine effect by Eddie Kramer at Electric Ladyland, fresh from his work with Jimi Hendrix. Guitarist Louis Dambra co- arranged the material with Appel and Cretecos; he had earlier played in garage band The Koala as Louis Caine, and here his screeching guitar
is a major draw, backed by plodding bass from Gary Justin, as front man John Garner shrieks his vocals while pounding furious drumbeats. Aside from a tough cover of Ray Charles’ “I Got A Woman” and a track inspired by Yeats’ poem “Lake Isle Of Innersfree,” the album features heavily-stoned acid rock originals, delivered the Sir Lord Baltimore way.

Formed in 1971 by guitarist John Evan-Jones and his bassist brother Trevor, obscure British prog-rock act Jonesy had a shifting line-up and unusual elements, Chicago-born Jimmy Kaleth’s battery of keyboards including a Mellotron. Sophomore set Keeping Up saw Trevor return to the fold, along with drummer Plug Thomas, fresh from sessions with Supertramp; guitarist Ray Russell’s lush string arrangements and Alan Bown’s plaintive trumpet and flugelhorn add extra musical dimensions. Capturing the group at their most eclectic, Keeping Up is a must for Mellotron fans and all lovers of pop, jazz, and blues-tinged prog.