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The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.

When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.

“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.

“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”

And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”

Soon after work began on the album, Barker had a miscarriage.

“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”

“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”

“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”

“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:

“It’s so hard to let go, wanted to know wanted to know you …”

“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”

Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”

Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.

Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.

Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.

Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.

Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.

‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.

"With a career spanning more than eight decades, The Isley Brothers have one of the longest, most influential and most diverse careers in popular music. The group began in 1954 as an American family music group originally from Cincinnati, Ohio, which began as a vocal trio consisting of brothers O'Kelly Isley Jr., Rudolph Isley and Ronald Isley. The Isley Brothers have sold over 18 million records in the United States alone. Go For Your Guns is the fifteenth album by The Isley Brothers. Originally released in mid-April 1977, the album peaked a month later at No. 1 on Billboard's Top Soul chart, and at No. 6 on the Billboard 200. The album Includes ""Footsteps In The Dark"" as sampled by hip hop artist Ice Cube for his hit ""It Was A Good Day"". The song peaked at No. 7 on the Billboard Hot R&B/Hip-Hop Songs chart and No. 25 on the 1993 Billboard Hot R&B/Hip-Hop Songs chart.
Go For Your Guns is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl. The album is housed in a gatefold sleeve and includes an insert. "

Go For Your Guns by The Isley Brothers, released 3 May 2024, includes the following tracks: "Tell Me When You Need It Again (Part 1 & 2)", "Voyage To Atlantis ", "Go For Your Guns" and more.

This version of Go For Your Guns comes as a 1xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, blue disc.

Based near Nantes & just 30 years old, Dj King Flow has almost 20 years of beatmaking under his belt, with numerous trips back and forth between France and the USA. His many travels have enabled him to network with a large number of independent MCs.
Today he presents Halftime, his first project on vinyl, which speaks volumes when you see the many names of hip-hop legends such as Rase Kass, O.C., Tragedy Khadafi, Goodie Mob, Shabaam Sahdeeq and other lesser-known but equally talented names!
The osmosis operates on King Flow's beatmaking style, with a mix of 90s, Sudist and boombap influences!

A new vinyl bomb for all lovers of good hip-hop music !!!!

The Red Clay Strays haben in acht Tagen zwölf Songs aufgenommen, die ihre Americana-Seele besser präsentieren als alles zuvor.
In einer digitalen Welt, die auf Perfektion ausgerichtet ist und in der Autotune und elektronische Instrumente in den Studios überhand nehmen, kann es schwierig sein, in der heutigen Zeit noch Authentizität in der Musik zu finden. Die Ära der Alben, die als echte Hörerlebnisse gestaltet wurden, ist auf der Strecke geblieben, doch die Red Clay Strays haben sie mit ihrem Debütalbum Moment of Truth kunstvoll wieder aufleben lassen. Das Ergebnis ist in mehrfacher Hinsicht ihr Moment der Wahrheit.

Laura Quirke and Claire Kinsella’s collaboration charms audiences into a world of intimate observations and uncomfortable questions with irresistible chemistry, charisma, and humour. ‘Why are all the good men, too old, taken or dead?’ The rare alchemy of the duo’s voices together cuts through a minimal and dramatic soundscape; coloured by the warmth and grit of Kinsella’s Cello, and distinctly underpinned by Quirke’s cyclical, trance-like guitar playing. While embedded in Irish and Folk roots, Lemoncello’s sound embraces the freedom of carving out its own song structures, entwined with a love of off-kilter Indie Pop, Jazz extemporisation and Romantic and Contemporary Classical music. A vital voice in the thriving alternative folk scene in Ireland, Lemoncello have been nominated for Best Folk Song and Best Emerging Folk Act at the RTE Radio 1 Folk Awards and opened for and collaborated with many esteemed artists such as Lisa O'Neill, Sam Amidon, Glen Hansard, Cormac Begley & Joshua Burnside. Now, they present their self-titled debut album, available on CD & vinyl.

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band's story, Sonic Youth's `Walls Have Ears' appeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité on par with elements of side B of `Master Dik' to come later. With a bit of complexity to the situation of the release itself. But that's a different story. Deleted as quickly as it appeared then, it's now issued for the first time officially under the band's auspices. In this 2LP set brimming with primitive classics like "The Burning Spear", "I Love Her All The Time", "Death Valley 69" and "I'm Insane" (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board. The first two sides of `Walls' are massive, cavernous, with newly-drafted drummer Steve Shelley in tow taking on past tunes and unveiling "Expressway To Yr Skull" in glorious form. They tear it up especially on one trash-fi excerpt of "Blood On Brighton Beach" (actually "Making the Nature Scene") from a legendary outdoor gig November 8th where Moore, Gordon and Ranaldo's guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame. The record's second slab spotlights an April 1985 pre-Shelley gig supporting Nick Cave at London's Hammersmith Palais and was one of the final appearances live of Bob Bert, again featuring some molten takes on "Brother James", "Kill Yr Idols", "Flower" (Iisted as "The Word (E.V.O.L.)"), "Ghost Bitch" and others. The emergence of the Jesus and Mary Chain in the world gave Brit scribes a lazy and easy parallel, addressed here with a wink with the inclusion of "Speed JAMC", another offstage tape interlude playfully scrolling through one of that band's songs at fast-forward. This document remains an essential representation of some lean and mean years of the quartet's throttling march out into the world in the mid eighties. Coloured vinyl, one red, one yellow LP.

2024 repress and recut inna green transparent plate.

Excellent acid mental tribe EP from Winprod. A loud sick mental sound, full of good evolutions and uncomon efficient kicks. B side long tune kicks a 168 BPM, and on A side you get a 187 and a 177 BPM tunes.

On a cold December's night, we packed the Paradiso in Amsterdam, ending our tour in glorious fashion. This night felt like a homecoming show, marking my seventh time headlining the "pop temple". The "creme de la crème" line up included one of my oldest friends Marnix. Slider returned on keys for this tour, having been a crucial member of our musical family for years. We brought out the big guns for these shows, having a crazy variety of classic keys on stage. These included an electric grand, clavinet, multiple synths and multiple electric pianos. Needless to say, the stage was pretty full! Willem being the powerhouse he is, raised the bar as usual. An amazing drummer and an amazing singer! Last but not least, returning to Paradiso with Xander felt incredible. Him and I have been doing this even before I descended down to earth and became Jett Rebel. All of us are friends and being on stage with these people is a privilege and a blessing. You'll be able to hear the crowd's excitement in the way we play. My primary goal was to make it feel like you were actually there. I live for this...

This record is part of "Be The Change", a project conceived and developed by Rude Cares, aiming at raising awareness towards climate change and environmental impact within the Music Community. We envision a global economy that uses business as a force for good.

And we are on a mission to make our Earth a better place through music! We’ve selected Artists who share this vision, and we designed exclusive and limited ecofriendly variants of one of their records to offer to fans globally.

For each release, a donation to Green Future Project will be made, and 100 new trees will be planted. 2 LP Printed on eco-friendly LP, sustainable production process. Hand-numbered. Exclusive
gatefold w/ varnish inserts. INDIE ONLY!

Vinyl 12-inch album, 3mm spined LP sleeve, printed innner, orange and blue split vinyl.

20 Years Of DevilDuck Records. Ltd Anniversary Compilation with 13 Special Tracks put together by the Hamburg based Indie Label.

BELFAST PARTY THE NIGHT INSTITUTE LAUNCHES NEW ELECTRONIC MUSIC LABEL

The Night Institute, the legendary cult club night at the forefront of Belfast's thriving electronic music scene, announces eponymous new record label.

Spearheaded by scene stalwarts Timmy Stewart of Black Bones fame and Jordan Nocturne, known for his contributions to labels like Correspondent and Polari, this new venture aims to showcase Belfast's true independent club scene on a global scale.
The Night Institute has long been synonymous with cutting-edge music, providing a haven for the city's electronic music aficionados.
With the label, the vinyl and digital project features tracks by both resident artists as well as global artists who've played at the party.
The inaugural release boasts a stellar lineup.

Alongside Night Institute residents Timmy Stewart (Ft. Northern Irish vocalist Megan Sylvan) and Jordan Nocturne, the record showcases guest appearances by Justin Cudmore, resident of New York's renowned The Bunker and regular contributor to Phonica Records, and Hifi Sean, who has been making waves with his collaborative project alongside David McAlmond while working with icons like Ce Ce Peniston and Yoko Ono.

The label aims to capture the essence of Belfast's underground electronic music scene, while joining the dots with global collaborators across four tracks of acid, odd-ball house and dance floor electronics.

Good Vibes for Uncertain Times

Getting into an album by Cyril Cyril is being invited to a party where you thought you didn't know anyone, only to realize that this chap's gal is your bro's cuz, and leave with everyone's cell. Their music seems familiar because it's not deaf to its neighbors, in the broadest sense : Geneva, their lair, Europe, their playground as a duo, and the world, their grocery store. There's plenty in those two heads, but just the two of them on stage. For their third Born Bad album, they have invited two lads from Orchestre Tout Puissant Marcel Duchamp, Ines Mouzoune, multi-instrumentalist from Amami, and Violeta Garcia's cello on Le Futur ca marche pas. On the ruins of Switzerland, people dance hard but consciously, and won't complain about them having a go at the homeland - notably in " Sweetzerland Bunker Love ", where they claim it's time to "free the money from the banks". There's something rotten in the state, wherever it may be, and they prefer to put its fall to music. And they're not shy about it, either: this album features heavy guitar/drums text-driven ballads (beautiful "Mensonge" opens the album with a certain gravitas), polyrhythmic noisy drum splatter with crafty vocal knitting ("Plus rien a? faire"), deconstructed and harmonically ambitious compositions ("Les Phoenix de l'amour"), and latino frogs croaks, because yes, why not. Since their previous efforts "Certaine Ruines" and "Yallah Mickey Mouse", it turns out that the future isn't working out so badly for the two Cyrils. (Not so) Quietly sitting on crates of records, they patiently build their sound. Never tired of sick networks and never-ending struggles, Cyril Cyril is a rousing mess, shouting out the common spleen while still managing to have a good laugh.

Available for the first time from Cargo. This album, Ward’s eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012’s A Wasteland Companion. Where that record introspectively looked in from the outside, More Rain finds Ward on the inside, gazing out. Imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include R.E.M.’s Peter Buck, Neko Case, k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The result is a collection of upbeat, sonically ambitious yet canonically familiar songs that both propel Ward’s reach and satisfy longtime fans.

Soul Jazz Records’ Down Beat Special is a roller-coaster ‘greatest hits’ ride through many of the all-time classic tunes hand-picked from across the mighty vaults of, without doubt, Jamaica’s finest ever record label and pioneering powerhouse of reggae music. Seminal tracks such as Michigan and Smiley’s ‘Nice Up The Dance’, Dawn Penn’s ‘No, No, No’, The Wailers’ ‘Simmer Down’, The Eternals’ ‘Queen of the Minstrels’… and on it goes.

Non-stop BIG tunes. Down Beat Special is an essential primer to Studio One Records. Originally released as a one-off pressing limited edition (long-since deleted) 7” box set, this new edition is fully remastered and expanded to a massive 18 super rare and killer cuts from the Studio One empire. Featuring the Skatalites, Jackie Mittoo, Bob Marley & The Wailers, Horace Andy, Alton Ellis, Lone Ranger and many more, the album features rare and classic tracks throughout. Newly commissioned sleevenotes by Noel Hawks (History of the Jamaican Recording Industry) features a track by track historical and musical analysis, label scans and more added to this fantastic collection.

Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favoured football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins, The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of One Law for Them, dropped in amongst the Radio and blistering Bumper Sessions with Evil sitting squarely in its unpolished centre is the ska-inflected gallop of Seems To Me, an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces.

First issued in 1961 on Columbia’s early music venture Colpix, Forbidden Fruit is widely acknowledged as the best of Nina Simone’s early releases. Producer Cal Lampley choose to cast her in varied settings, blending a rendition of Oscar Brown’s ‘Rags And Old Iron’ with a unique take of Bessie Smith’s ‘Gin House Blues,’ contrasting with Billie Holiday’s ‘No Good Man’ and ‘I’ll Look Around,’ which Simone shifts to her own image. Her backing trio aim for the understated, the rhythm section leaving ample room for Simone’s appealing piano lines, nicely complimented by Al Shackman’s guitar. An excellent set from Miss Simone – grab it!

Pink Martini are musical ambassadors who strive to create a world of goodness, beauty and romance, a unique cross between a Cuban dance orchestra, a Brazilian marching band and a 1940s Hollywood musical. “Hey Eugene!” is now rerleased to coincide with the 30th Anniversry tour .From the blissful opener, “Everywhere”,inspired by those lush Hollywood theme songs of the late 1940s, via the exultantly funky title song and first single to The exuberance of “Dosvedanya Mio Bombino” and the gorgeous cover of “Tea for Two” the duet with the legendary Jimmy Scott, we are treated to an eclectic group of songs that are classic Pink Martini. Tour:April 29 – Manchester April 30 - Edinburgh May 2 – Oxford May 3 – Bristol May 4 – Southend May 5 – London (Royal Albert Hall)

Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks.
Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.
Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.
On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart.
Anti Fade Records and Upset The Rhythm proudly present Parsnip’s first album in five years, ‘Behold’. Available in all good record stores April 26th.

To live again has never been so good. So sexy. So groovy. Reelow's reeturning to the game with 'Reeborn' - his highly-anticipated second album on his own Reecords label. This one's not just about the music: Reeborn is the resume of adventures, friendships, missed flights, collaborations, and hundreds of hours in his Barcelona studio: a magnet that attracts artists, buddies, and music enthusiasts, becoming a meeting point and exchanging fulcrum. The Hungarian groove master and Solid Grooves resident delivers four irresistible cuts in perfect Reelow's fashion, diving between skipping drums, shuffling grooves, and jackin' bass tones, taking listeners on a road trip deep into his trademark rough and funky sound. Reeborn, now.

Starting out as the Masterettes, a girl group formed by high school friends Brenda Reid, Carol Johnson, Lillian Walker and Sylvia Wilbur, the group switched focus and changed name after Wilbur was replaced by Brenda Reid’s husband, Herb Rooney, their breakthrough hit ‘Tell Him’ appearing in 1963 after Leiber & Stoller took charge. 1971’s Black Beauty, produced by Rooney, continued the post-L&S journey via the group’s own take of funky and melodic soul, approaching the style of the Staples Singers with plenty of emotive harmonies. If you like your soul switched on, hard-hitting and individual, you need Black Beauty in your collection.

Olsdchool feeling here.
Sweet pumpin minimal tunes, groovy !

Ragga Jungle from Canada.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

RECUT & REPRESS ! An excellent IXY records, back from year 2000. Good sound and good tunes. What more ?

Warehouse Find!

Tornado Wallace has made a rather rapid climb up the hype list since his debut release here on Delusions Of Grandeur in 2010 and deservedly so. Definitely one to push quality as opposed to quantity, the Melborne wunderkind has chosen to focus on just a select few remixes and releases which has stood him in very good stead and created demand as a DJ and producer with genuine integrity as well as talent. In addition to his two EPs on D.O.G he also released an EP for Instruments Of Rapture as well as making remixes for Home Taping Is Killing Music, Kolour Ltd and Future Classic. He is also responsible for one of RAs best and most popular podcasts this year.

First EP from the RODF Sound System, based in center Japan.

A side brings a superb live : full of ideas and good surprises, kick changes, hypnotic sparks and breakbeats supports. Fresh and absolutly not dark ! Wicked !!

The flip opens with a deep mental Yogi bassline and a sweet Tribe pumpin kick...
The second tune is an experimental Tribe track, melting the SPAZ californian's oldschool ambiances to the KGB01 69DB Hit Hat... Xp oldschool i'd say ??

A japaneese production for the newskool underground never die fever !

Enjoy !

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

Ladi6 is a singer with soul. A singer with a hip-hop background and masses of pop-appeal. A singer who first gained attention through her features with the legendary New Zealand export-band Fat Freddy's Drop, but who has also performed alongside such diverse artists as Gil Scott-Heron, Mayer Hawthorne and Mos Def. In short: A singer whose eyes have seen much and whose style is not governed by rules. As if that wasn't enough, her enormous charisma enables her to win her audience over within minutes with full support of her band of Parks and Julien Dyne (BBE).
The 30-year old has always endeavored to use music to tear down barriers and dissolve purported genre-boundaries. With her previous album, "Time Is Not Much" (BBE) which was produced by Parks and Mu (Fat Freddy's Drop), Ladi6 has already taken a perfect shot at her goal, which, combined with the interplay between the many diverse elements of the music, has a highly impressive effect. "The Liberation Of…" has already top the New Zealand independent charts for consecutive weeks and her single "Like Water" is the #1 independent New Zealand song on radio.

First tune, "Underneath Is The Need For Power" has a long intro, deep industrial techno... And then turns Tribal industrial hard techno...
The 3 other tunes are bloody good industrial techno groovers, weapons of dancefloor construction !

Stock Found / Direct from the Label

Woody mc Bride is back with ARU and some french and spannish artists inna Acid Techno preformance... Notice Floxytek changed his name into a "Logic Oscar" for this particular Acidtek projekt.

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

Jimpster dons his Franc Spangler cap and joins forces with up and coming London-based producer and DJ Hudson’s Choice for a four track EP entitled Myatts Field. Touching on trippy slo-mo electronic grooves, tropical moods and percussive house jams it brings a more experimental and left field sound to Delusions Of Grandeur which we’re sure you’re going to love!

Opening track AcidMan sets the tone of the EP with a bubbling 303 line taking centre stage while pitched down vocals add a hint of menace, heightening the psychedelic mood. Dubby FX and analogue synth lines drift in and out of focus and give a live jam feel to the arrangement reminding us of something that might grace the decks of A Love From Outer Space. Heavily Percussed continues offering up a crazy percussion tool loaded with wonky cross rhythms, glitchy found sounds and a hypnotic synth sequence for good measure.
Flip over for Myatts Field, another slower tempo mutant discoid house groove which takes us on a deep trip into the jungle. Echoing sax and hazy vocals transport us to another world where Weather Report experimented with rolling four on the floor grooves and spacious dub.

Closing out the EP Roots picks up the pace with another percussion-heavy slice of tropical sounds which doffs a cap to masters such as Gregory and Osunlade. Steel pan melodic lines intersperse with chiming synth sequences making for an unusual yet hooky club track which will lock the dancers into its incessant groove.

When great music minds get together, good things happen and this latest Freerange outing is testament to that. Bridging the gap between Toronto and Detroit, the Detoronto EP is the result of Mark Kufner aka Toronto Hustle’s vision of deep, underground house music and Sean Roman’s production prowess. With decades of experience promoting nights, DJing and running his own brilliant vinyl-only label Selections, Mark teamed up with production partner and fellow Toronto DJ, Sean Roman. Sean has worked with a diverse selection of imprints such as Nervous Records, Local Talk, Strictly Rhythm, as well as his own imprint Lately Bass.

On the vocals, Detroit’s ubiquitous Javonntte rounds out the artists for this heavyweight EP. Classic deep, raw, late night house sounds are the order of the day here. Deep In This is just the kind of fat, swinging groove to warm up the dance floor with. Simple yet robust, the square wave bassline brings the right amount of attitude whilst Javonntte’s vocal’s draw you into his world.

Next up, the duo give us their own Light Night Dub of Deep In This which strips out the harmonic elements, putting all the focus on the drums, bass and vocals. This makes for the perfect club tool, sounding massive on a nice system and guaranteed to get the floor locked into its unrelenting groove.

Flip over for a brilliant remix of Fall In Love by another legend of the Toronto house scene - Demuir. This guy is a production powerhouse whose soulful, funky, jacking house sound has seen him releasing on such diverse labels as Yoruba, Classic, Heist, Hot Creations, Robsoul and Desolat. Here he brings his trademark, loose and jazzy drums and funky AF Moog bassline which is accompanied by a beautiful, filtering piano loop.

Closing out this brilliant EP we have Fall In Love, another late night basement jam featuring the vocals of Javonntte. Classic rhodes stabs add a rolling energy to the chunky drum groove making this one of those classic B2 tracks destined to become a secret weapon in your sets.

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!