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Blue Note 1963 - Classic Vinyl Reissue Series Lee Morgan’s magnum opus The Sidewinder — recorded in 1963 and release in 1964 — was both a comeback and a coronation. The prodigious trumpeter had debuted on Blue Note in 1956 at the age of 18, but personal problems in the early-60s forced him off the scene temporarily. His rebound recording turned out to be The Sidewinder, an assured and energetic set of 5 indelible Morgan originals featuring tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw, and drummer Billy Higgins. The album became his biggest commercial success fuelled by the irrepressible title track.

Nadia Khan returns on Scissor and Thread for another sublime mini LP, Port Ana. Based in North Carolina, Khan first drew a lot of attention via a cassette release on Where To Now? Records in 2015.
Her sophomore statement was the beautiful In Gleam released in 2018 on Francis Harris’ Brooklyn-based label, which set the tone for these five tracks of meditative music. The title track Port Ana opens the journey - a gentle, droning soundscape with effortlessly bewitching glints of melody. Conversation follows on, drawing on loops and textures to create the background for a deep, pulsing kick drum. The sounds shift and evolve, leaving a hazy sense of movement to drift away to. Next up is Objects In Form which presents a fragile chord progression that barely holds itself together, surrounded by shifting pads and swathes of reverb. Rain Again is presented here in two versions. The original combines ethereal sounds, weightless and adrift, while the Lawrence remix firmly grounds the track with a hypnotic, deep groove. The Dial boss provides another remix for the digital release that further plays with the textures of the original to create something that works both for an open minded dancefloor and as a home listening experience.

3 x LP - Live in Sharjah Box Set + Booklet. designed by Lorenzo Mason Studio.

If you’ve ever travelled to Egypt and wandered through its crowded streets, you probably ended up buying a cassette or a CDR of popular synth based music heard in most cabs, cabarets, or alleys around town: the almighty Shaabi.Raed Yassin and Paed Conca based their project PRAED on research between Shaabi and Mouled (traditional trance music from Egypt) and the hypnotic structures of both these genres. Repetitive beats, loud Mizmar and loads of energy, with a strong influence from psychedelic rock, free jazz and electronica.

During the years in which the duo produced 4 albums and performed on an endless number of stages around the globe, PRAED started working on anambitious expansive project: an orchestra that could transpose this study of rural and popular culture into an immense, iconic work. In autumn 2018, supported by the Sharjah Art Foundation, PRAED Orchestra! premiered “Live in Sharjah”, interpreting new material merged with some of the band’s iconic pieces. The composition process started with the choice of musicians: the line-up consisted of some of the most innovative artists coming from a wide spectrum of musical practices. Each musician was chosen for a defined role, and the common denominator was their capacity to interpret written material, and their ability to improvise effortlessly. Each role was clearly set to work in unison with the rest of the group, while simultaneously sustaining a centrality in the choir. Solo parts masterfully drawn over the structure as a fil rouge connecting every piece of the entire concert; massive and powerful orchestral sections leading to a breathtaking trance-like state of mind; all of this material ultimately coalescing into an Egyptian Operette that narrates the sorrow, love, and deeply rooted culture of this urban music called Shaabi.

Paed Conca: Clarinet, Electric Bass, Electronics
Raed Yassin: Synthesizers, Vocals, Electronics
Alan Bishop: Alto Saxophone, Vocals
Nadah El Shazly: Vocals, keyboard, Electronics
Christine Kazarian: Electric Harp
Hans Koch: Bass Clarinet, Soprano Sax
Martin Kuchen: Tenor Saxophone, Baritone Sax
Maurice Louca: Keyboard, Organ
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synthesizer
Sam Shalabi: Electric Guitar, Oud
Ute Wassermann: Vocals, Mouth Harp, Whistles
Khaled Yassine: Drums, Percussion, Darbuka
Michael Zerang: Drums, Percussion

Recorded live at Calligraphy Square on November 3rd, 2018 in Sharjah, UAE by: Sudish Suman & Shuaib Ahmad Poonthala
Edited by: Rabih Beaini at Morphine Studio, Berlin, Germany
Mixed by: Radwan Ghazi Moumneh at Hotel2Tango Studio, Montreal, Canada. Mastered by: Harris Newman at Grey Market Studio, Montreal, Canada.
Artwork by Lorenzo Mason Studio.
Project manager : Simsara Music

After a long delay due to his previous powerhouse 'Hypnotised' blowing up the worldwide spot, German maestro Purple Disco Machine finally lets loose the next step in his world dance domination. Every superlative under the sun has been used for this man's talents and he does not disappoint with a return to his updated Italo disco stylings on new single 'Exotica'.

Purple Disco Machine remains at the forefront of world dance music, following a series of remixes for A-list icons Diplo, Dua Lipa, Mark Ronson, Foals, Calvin Harris, Fatboy Slim, Sir Elton John, whilst more recently delivering his stellar cuts of Duke Dumont’s ‘Ocean Drive’, and Lady Gaga and Adriana Grande’s international hit single ‘Rain On Me’.

He now unveils yet another side of his impressive production prowess with new single ‘Exotica’ featuring the Italian electro funk producer Mind Enterprises on vocals, creating an electric club record exploring and playing homage to '80s German and Italian euro disco records that he grew up with.

Based around a replayed sample of 80’s Italo disco classic ‘Void Vision’ by Cyber People, Purple Disco Machine creates a high energy dance-floor heater with a lively modulated vocal. ‘Exotica’ shares its name with the forthcoming studio album, which the artist confirms will feature his playful interpretation of the music of the decade that birthed the Purple Disco Machine sound; Synth Pop, Italo Disco, Electro Funk, Soul, R&B and Boogie.

Certified as one of the most prolific electronic artists of our generation, the Dresden born producer ranks #2 on Beatport’s all-time Top Artists, with his 2013 breakthrough hit ‘My House’ remaining as one of the platform’s best-sellers through to today. With an undeniable midas touch, Purple Disco Machine landed himself in the record books once again in 2018, whilst amassing a stunning 100 million streams across his original ‘Dished (Male Stripper)’, and remixes of Weiss’ ‘Feel My Needs’, and most notably his remix of the seminal ‘Praise You’ by industry icon Fatboy Slim. With a slew of varied releases including hit singles ‘In My Arms’, ‘Body Funk’ and ‘Devil In Me’, the producer’s status was propelled by his debut LP ‘Soulmatic’, earning him critical acclaim across the globe.

Pique-nique Recordings is proud to present 'Investigate and Enjoy', a deep musical conversation between two of New York City’s most prolific musicians, Dave Harrington and Kenny Wollesen. Harrington (Darkside) and Wollesen (Sex Mob) use a shared language of texture, groove, and space to craft intricate, free-formed, and inventive experimental music.

Wollesen’s forceful percussion opens up side A, which grooves heavily underneath Harrington’s skittering electronics. The flip side features sparse yet rich guitar tones on what Harrington and Wollesen refer to as an “improvised ballad.” Both pieces resonate with a powerful mood as hints of late-Talk Talk and Battles permeate these unique recordings.

This release is part of an ongoing series that aims to capture the New York City jazz scene in its current, always evolving form.


"Of all of the things we've done together over the years, playing as a duo has been one of the most special to me. We never rehearse, we never play any songs, but Kenny and I find ourselves writing music together in real-time. Kenny is the rare drummer who has the ability to not only supply a sort of canvas for another musician to work inside of and to paint harmonically on, but he can make the frame around it, and he can splatter paint himself in a meaningful way that has the power to change the whole shape of the shared dream of an improvisation.

We have recorded together a number of times over the last several years and this music came out of one such meeting. While it is no exaggeration when I say that having my name next to Kenny’s on a record sleeve is a dream come true, the real dream is getting to make music with a true master." - Dave Harrington

Rising Welsh producer // DJ Harrison BDP has been making some serious noise as of late, with a string of stand out releases on Phonica, Berg Audio & Lost Palms. This time making his debut on Shall Not Fade with some of his most weighty productions to date. ‘Sound Expansion Meditation’ takes the listener on a voyage of discovery with spacey synths, dusty drum sequences and floating bass riffs.

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

A vital voice in the modern discourse on depression, body positivity, and the LGBTQ community, her trailblazing influence has arguably never been more apparent and some of the key writers of the moment have teamed up to work with her. Alongside Rae Morris and Fryars, who co-penned the first single WHO I AM, co-writers include Jonny Lattimer (Ellie Goulding, James Bay, Rag ‘n’ Bone Man), Future Cut (Little Mix, Shakira, Lily Allen), Tom Neville (Dua Lipa, Kesha, Calvin Harris) and Shura. Among the tracks she releases here are the slinky, tropical-tinged Overload, a warning to a people getting on your nerves, and Escape, a broken beats-driven track about escaping everyday life. The summery Self Love owes a debt to Donna Summer, while Melanie’s love of Billie Eilish influenced the moody, intimate Nowhere to Run. Melanie and Billie’s admiration for one another was plain to see at this year’s BRIT Awards, where Melanie presented Billie with the Best International Female Solo Artist award after a long embrace. Who I Am and second single Blame It On Me have both set up the self-titled album and despite releasing during a global lockdown, she has performed to great acclaim on TV and online across the world on flagship shows such as The One Show in the UK, no less than 4 million plus German TV shows and James Corden’s Late Late show in the US where her performance is now the benchmark. With growing streaming support and A list radio support on both tracks in the UK, Australia, Latin America, SE Asia and Germany so far, it’s a global new chapter for Girl Power.

Tape / Cassette

The GTT series is a platform that hosts experimental projects & artists in sound art. It is dedicated to support sound as a genre of its own - beyond the boundaries of music theory and free of any expectation. Just art.

WOLFFRIEND is a collaboration project between Mischa Wolff (Von Abseits) and Daniel Harrison (Imaginary Friend). The two met each other in Berlin and discovered their mutual interest in beats, rap and sound art. When they moved in with each other last February they spent their first two weeks together in the studio. It resulted in an adventurous sound story called 'Computers' that brings listeners into a dimension of their own.

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.

AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences.

Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.

Following a seven-year break, Average White Band returned in 2003, with their most recently released wholestudio album, ‘Living In Colour’, which includes two soul classics in ‘I’m Gonna Make You Love Me’ and Major Harris’ ‘Love Won’t Let Me Wait’.

The full album line-up comprised Alan Gorrie, Onnie McIntyre, Klyde Jones, Fred Vigdor and Brian Dunne, along with additional musicians Eliot Lewis ,Cliff Lyons, John Fumasoli, Tony Kadleck, Bill Harris, Carlos Gomez, Joe Najmy and Rob Aries.

The Bit is the second recorded collaboration between Aidan Baker (Nadja / Hypnodrone Ensemble), Simon Goff (Jóhann Johannsson / Hildur Gudnadottir) and Thor Harris (Swans, Shearwater, Thor & Friends).

Following on from 2017’s Noplace album, The Bit treads a similar path in terms of the recording process as the trio spent a day improvising at Voxton Studios in Berlin whilst on a European tour. The result was then edited and moulded into six hypnotic tracks that ebb and flow with beauty and ease.

The Bit finds the trio painting with a lighter touch than on its predecessor. Thor Harris’ motorik beats still underpin the music but the atmospherics take a more prominent role and there is a pure and cohesive path to be found throughout the record. Much like on Noplace, Baker’s guitar and Goff’s violin weave together beautifully, forming a deep bed of melody, ambience and reverb.

Given the trios credentials it’s not surprising they have created another immersive and stunning record.

Das für den GRAMMY nominierte Duo ODESZA und der bahnbrechende australische Produzent Golden Features veröffentlichen neues gemeinsames Album als BRONSON.

BRONSON wurde gegründet, als die ODESZA-Mitglieder Harrison Mills und Clayton Knight 2014 bei einem australischen Musikfestival auf Tom Stell von Golden Features trafen. Die drei teilten ihre gegenseitige Bewunderung für die Auftritte der jeweils anderen und blieben in Kontakt, indem sie Musik über Zeitzonen und Kontinente hinweg über Dropbox-Dateien und FaceTime-Anrufe austauschten. Das Aufeinandertreffen des Trios gipfelte in einem Treffen 2018, als die drei Künstler eine Woche in der abgelegenen Region von Berry in Australien verbrachten, um das aufzunehmen, was später das Debütalbum von BRONSON werden sollte. Wie aus den beiden ersten Singles hervorgeht, ziehen sich Elemente von Licht und Dunkel durch das zehn Songs starke Album, da das Oberthema von „BRONSON“ das dem Menschen innewohnenden Kampf von Licht gegen Dunkelheit widerspiegeln möchte. Die Platte kombiniert sowohl melodische Vocal-Songs als auch stimmungsvollere, tiefergehende Elektronika mit Gastbeiträgen von lau.ra (die, neben u.a. Nigel Godrich von Radiohead, Teil der experimentellen Rockband Ultraísta ist), dem gefeierten US-amerikanischen R&B-Sänger Gallant und dem britischen Produzenten Totally Enormous Extinct Dinosaurs (TEED). ODESZAs und Golden Features’ kombinierte Streamingzahlen reichen in die Milliardenhöhe und die beiden Acts haben jeweils mehrere Singles und Alben veröffentlicht, die mit Gold und Platin zertifiziert wurden. Die Künstler haben mit einer Reihe von renommierten Künstlern wie Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry und anderen zusammengearbeitet. Als hochgefragte Live-Acts haben die beiden Projekte zudem Millionen von Fans auf der ganzen Welt auf ihren jeweiligen Headline-Tourneen erreicht. ODESZA haben zudem legendäre Veranstaltungsorte auf der ganzen Welt ausverkauft, wie bspw. Die Verti Music Hall in Berlin, die Londoner O2 Academy Brixton, das Staples Center in Los Angeles und das Barclays Center in New York und waren Headliner auf Festivals wie Melt!, Coachella, Bonnaroo und Lollapalooza.

Das für den GRAMMY nominierte Duo ODESZA und der bahnbrechende australische Produzent Golden Features veröffentlichen neues gemeinsames Album als BRONSON.

BRONSON wurde gegründet, als die ODESZA-Mitglieder Harrison Mills und Clayton Knight 2014 bei einem australischen Musikfestival auf Tom Stell von Golden Features trafen. Die drei teilten ihre gegenseitige Bewunderung für die Auftritte der jeweils anderen und blieben in Kontakt, indem sie Musik über Zeitzonen und Kontinente hinweg über Dropbox-Dateien und FaceTime-Anrufe austauschten. Das Aufeinandertreffen des Trios gipfelte in einem Treffen 2018, als die drei Künstler eine Woche in der abgelegenen Region von Berry in Australien verbrachten, um das aufzunehmen, was später das Debütalbum von BRONSON werden sollte. Wie aus den beiden ersten Singles hervorgeht, ziehen sich Elemente von Licht und Dunkel durch das zehn Songs starke Album, da das Oberthema von „BRONSON“ das dem Menschen innewohnenden Kampf von Licht gegen Dunkelheit widerspiegeln möchte. Die Platte kombiniert sowohl melodische Vocal-Songs als auch stimmungsvollere, tiefergehende Elektronika mit Gastbeiträgen von lau.ra (die, neben u.a. Nigel Godrich von Radiohead, Teil der experimentellen Rockband Ultraísta ist), dem gefeierten US-amerikanischen R&B-Sänger Gallant und dem britischen Produzenten Totally Enormous Extinct Dinosaurs (TEED). ODESZAs und Golden Features’ kombinierte Streamingzahlen reichen in die Milliardenhöhe und die beiden Acts haben jeweils mehrere Singles und Alben veröffentlicht, die mit Gold und Platin zertifiziert wurden. Die Künstler haben mit einer Reihe von renommierten Künstlern wie Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry und anderen zusammengearbeitet. Als hochgefragte Live-Acts haben die beiden Projekte zudem Millionen von Fans auf der ganzen Welt auf ihren jeweiligen Headline-Tourneen erreicht. ODESZA haben zudem legendäre Veranstaltungsorte auf der ganzen Welt ausverkauft, wie bspw. Die Verti Music Hall in Berlin, die Londoner O2 Academy Brixton, das Staples Center in Los Angeles und das Barclays Center in New York und waren Headliner auf Festivals wie Melt!, Coachella, Bonnaroo und Lollapalooza.

Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic "The Loser" is canon, a masterpiece of Jamaican sweet soul instantly identifiable from its first chiming piano notes. In a nod to the "disco mix" DJ versions pioneered by Harriott, the Lions mic man Black Shakespeare provides a period-perfect chat backdrop to the Impressions-istic harmonies of the band, giving the tune an au courant spin while staying wide of heavy-handed faux ragga. All said, we wouldn't have felt right about releasing this without running things by the family, so we consulted Duane Harriott who approvingly called it "a brilliant take on one of the best rock steady songs of all time! Not an easy one to cover well and the Lions smash it out the park."

What is Randolph & Mortimer? A folk duo, a pair of accountants, a techno act…a law firm? What started off as an ‘art project’, influenced by 80s Industrial, 90s rave music and inspired by the documentaries of Adam Curtis, has morphed into a full on New Beat / Body Music dance-floor moving machine. Their studio releases have gained support from some of the biggest underground DJ’s in the world like Ancient Methods and gone on to top various genre sales charts on Bandcamp. Whilst the R&M live shows have seen them share bills with Godflesh, Youth Code, PIG and 3Teeth.

In 2019 it was time for R&M to throw a marker down and so came “Manifesto For A Modern World”, the debut album comprised of tracks from the “$ocial £utures”, “Hope Tragedy Myths” and “Citizens” EP’s plus some additional songs. This album is basically a greatest hits of Randolph & Mortimer. A statement of intent. All killer and no filler. The original limited edition CDs and tapes sold out and it had some incredible reviews. A Model Of Control called it “An absolutely outstanding release” and super cool New York DJ Andi Harriman (Synthicide) made it one her of top 10 albums of 2019 on Post-Punk

So here we are in 2020 and the Randolph & Mortimer story has seriously stepped up a gear with this double vinyl version of the album featuring all Manifesto tracks plus the acid styled dance-floor favourite “Apply Yourself” and four brand new tracks (“Crystal Peaks”, “Stateless”, “What Are You?”, “Fantasy Land”) which make up a whole new EP.

Limited edition of 400 copies with folded poster/insert and sticker.

A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

Kidbug is a love story, one which emerged through a fateful connection when Netherlands-based Marina Tadic (Eerie Wanda) and Australian transplant Adam Harding (Dumb Numbers) met at Joyful Noise Recordings' annual holiday gathering. After enlisting their friends Thor Harris (Swans), Bobb Bruno (Best Coast), and Dale Crover (Melvins), Kidbug emerges fully-formed to present their self-titled debut, 11 songs of beautiful, fuzzed out shoegaze dream pop. Recommended If You Like: My Bloody Valentine, The Jesus and Mary Chain, The Breeders, Pixies, Pavement, Sonic Youth, Stereolab, and/or, Eerie Wanda, Dumb Numbers.

Finland’s Luke Lund is one of the most inspiring modern dub aesthetes. Using odd number time signatures, warped bottom end, and proper experimental murk, HOPIUM creates fiendishly innovative electronic groove and atmosphere. Existing in a far away land tucked north of techno, dub, and noise where all blend and connect, HOPIUM is a wise encoding of fear, frustration, anxiety, and false hope. Luke Lund’s sound is unquestionable sincerity of exploration, equally inspired by Finnish electronic masters such as Mika Vainio and Ilpo Väisäinen, as well the legends Justin K Broadrick and Mick Harris – as such, absolutely at home on our label. Releasing on labels such as Youth, Co-Depedent, Totes Format, as well his own encyclopedic Terranean Recordings, Luke’s catalog of work continues to expand as does his global profile – assisted by touring Europe and playing at venues from Berlin to London to Helsinki. All tracks produced and recorded at Solace, April 2018 – June 2019. Mastered by Daniele Antezza at Dadub Mastering Studio. Design by Luke Lund. Executive producer Kurt Gluck.

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

Neil Young has said this album is “the unheard bridge between Harvest and Comes a Time”, which perfectly describes the warm, semi-acoustic feel of these twelve songs. Originally intended to be released in 1975, the album has remained unreleased since then, and has a legendary status among Neil’s fans.

Seven of the songs are previously unreleased on any album, and different versions of the other five songs would appear on later Neil Young albums. Neil plays guitar, piano and harmonica on the album, and is accompanied by a stellar group of musicians including Levon Helm, Ben Keith, Karl T Himmel, Tim Drummond, Emmylou Harris and Robbie Robertson.

LTD. BLUE SEAFOAM WAVE VINYL

Holy Hive ist ein Folk-Soul-Trio aus Brooklyn, bestehend aus Folksänger/Gitarrist Paul Spring, dem begehrten Soul-Schlagzeuger Homer Steinweiss und dem Bassisten Joe Harrison. Die Band hat sich durch fast schon legendäre Konzerte und ihre EP "Harping" einen Namen gemacht. Als Holy Hive erforschen sie die Beziehung zwischen den lyrischen Traditionen des Folk mit dem Rhythmus und der Ästhetik des Soul. Das Debütalbum "Float Back To You", aufgenommen in Queens im Studio Diamond Mine (von dem Steinweiss Mitbesitzer ist), besteht aus 10 eigenen Songs, einem Cover von "Be Thou By My Side" (ursprünglich von der britischen Gruppe Honeybus aus den Sechzigern) und einer Adaption des irischen Folksongs "Red Is The Rose". Steinweiss hat das Album produziert, als Gäste treten die Harfenistin Mary Lattimore, Leon Michels (El Michels Affair) am Saxofon und Keyboard, Shannon Wise (The Shacks) als Backgroundsängerin, Dave Guy (The Roots) an der Trompete, Nick Movshon am Bass und Paul Springs Ehefrau Sophia Heymans am Klavier auf. Homer Steinweiss arbeitet seit zwanzig Jahren als professioneller Schlagzeuger und hat in dieser Zeit den Beat zu Hits von Amy Winehouse, Bruno Mars, den Jonas Brothers, St. Vincent und Charles Bradley beigesteuert - um nur einige zu nennen. Als Gründungsmitglied von Sharon Jones & The Dap-Kings ist er mit der legendären Gruppe durch die ganze Welt getourt, bis er sich für eine Karriere im Studio entschieden hat. Paul Spring hat als Solokünstler sieben Alben mit eigenen Songs veröffentlicht, darunter, "Home of Song", eine von Kritikern sehr gelobte Platte mit Kinderliedern. Der Multiinstrumentalist Joe Harrison hat unter anderem mit Frank Dukes und Charles Bradley gespielt. Die symbiotische Beziehung zwischen Steinweiss und Spring ist wie die eines Spechts, der auf dem Rücken eines Nashorns sitzt. Springs zarter Gesang und seine flatternde Gitarre schweben in perfekter Harmonie über Homers bulligem Schlagzeug. Holy Hive sind eine vielschichtige Band: Manches an ihnen erschließt sich sofort, anderes erst später. Wie der Titelsong des Albums, der sich zuerst wie ein wunderschöner klassischer Liebessong anhört und sich dann als die Gefühle einer Frau entpuppt, die sich auf ihre Katze freut. Dafür steht Holy Hive: Die Musik geht verführerisch einfach ins Ohr und entfaltet sich dann sehr langsam - bis sie ganz aufblüht.

Known for releases on Apron, Misterio and Stillove4Music, Devin Dare join RNT with a 4-tracker of straight dance floor heat. The production alias of NYC’s Duane Harriott and Shawn Marquand, Devin Dare produce disco edits with a driving, almost techno-like sensibility & this 12” showcases their ability to coax every last drop of energy from a chopped and looped sample.

From the rolling thump of ‘Clash and Burn,’ to the percussive- and bass-driven ‘Stop,’ the low-slung gospel organ groove of ‘Dust,’ to the explosive & exuberant ‘KOHO2’ this record pretty much defines what a rework can, and should be. In a word, PROPER!

Andrés almost doesn’t need an introduction. But we’re gonna give him one anyway. Mentioned in the same reverential tones as such illustrious names as Hanna (aka Warren Harris), Marcellus Pittman, Rick Wilhite, Theo Parrish and, of course, Kenny Dixon Jr. (aka Moodymann), all collaborators, colleagues and compadres over many years, the long-serving Detroit producer has rocked up on the likes of Mahogani Music, Moods & Grooves, NDATL Muzik and his own imprint La Vida. Many more besides too when you take into account his hip-hop alter ego DJ Dez. Which is why we are super-stoked that he has joined the Hizou family with his house head on for the super-limited EP, All U Gotta Do Is Listen, a master class in downtempo, sun-kissed soulful beats, both the timeless eponymous title track and the funked-up flipside Night Time Is The Right Time.

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

The second collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2009, on Under The Covers Vol. 2 the duo cover 26 of their favourite tracks from the 1970s. For this edition in the series, Sweet and Hoffs invited guests into the studio including Lindsey Buckingham on ‘Second Hand News’, Dhani Harrison on a cover of his father’s ‘Beware Of Darkness and Steve Howe reprising his guitar parts on a version of the Yes track ‘I’ve Seen All Good People’ Pressed on two heavyweight 180g green vinyl.

Disco-funk recorded in London in the late-70s by Fungai Malianga who’d relocated from South Africa to North London. His funk-led ode to his manor with ‘Finsbury Park Party’ sportin’ Break-beats, tape echo, horn section and a narrative on Harringay’s finest known landscape. This is backed by a disco-funk version of Lennon–McCartney’s ‘Things We Said Today’, not only the most unknown version until now but also the grooviest. Drum & bass grooves to the max.

4TRK-029 sees label head Dj Hyperactive team up with Jason Patrick for the Inflexion EP. The release kicks off with, “Shadows Of The Underground” a stripped down acid Techno track that builds in a mutating fashion with it’s 808 cymbals, filtering shakers, and pitch bent synth stabs Mississippi Mud Hound gets underway with a growling bassline that morphs throughout alongside additional synth elements and percussion bits. On side b, “Harrier Env” provides a jacking feel that manages to also have stutter step bass groove in conjunction with 909 percussion, a spacey drone, and a mysterious melody. Closing out the release is “Bandaid On A Bullet Wound” an atmospheric stripped down track with powerful bass, sci-fi bleeps, and a lead synth riff that pushes and pulls in intensity throughout the track.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

kill the misery profiteers kill them now


Double slice of UK style Bass. Mick Harris’ Fret lands with a tweaked out dub cut, while KSP lands with a mega slow loping dark hop killer.

Emergency Ward! (1972) is Nina Simone’s statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day. The entire first side consists of a 18-minute medley of George Harrison’s “My Sweet Lord” and a poem by David Nelson called “Today Is a Killer,” set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols’ “Cool Jerk” with a call-and-response vocal arrangement - one of Simone’s finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York. Side two consists of the Lennie Bleecherâ’s Jeremy Wind song “Poppies” and George Harrison’s “Isn’t It A Pity”. Tracks 1 and 3 were recorded november 18, 1971 at Fort Dix, and track 2 is recorded at the RCA Studio in New York City.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• 1972 ALBUM FEATURING “MY SWEET LORD / TODAY IS A KILLER” MEDLEY
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

London-based folk-psych-country band The Hanging Stars return with their eclectic third studio album, A New Kind Of Sky, due out on 21 February 2019. Carrying on their exploration of transatlantic psychedelic folk and cosmic country, the new album blends twelve-string, harmony-laden lullabies with soft rock anthems to create a guilded box of bucolic folk-rock. As well as the band’s signature wistful pastoral escapism, there are lyrical concerns about the recent past; the systematic division of people, values, facts and humanity in The West in general - and the UK in particular. The band weave the same thread they have always woven but this time with a more unified vision, creating a kaleidoscopic poncho for these times.

The Hanging Stars comprise songwriter, singer and guitarist Richard Olson, Sam Ferman on bass, Paulie Cobra on drums, Patrick Ralla on guitars, keys and vocals, and renowned pedal steel player Joe Harvey-Whyte. Returning guest Collin Hegna from Brian Jonestown Massacre plays an instrument called a Marxophone on “Choir of Criers”. They also welcome Sean Read of The Rockingbirds and Dexy's Midnight Runners, who adds horns to “Three Rolling Hills” and “I Was A Stone”.

The main bulk of the recording for the new album was done live in the studio at Echozoo in Eastbourne with Dave Lynch. For the first time, the band decided to dive straight in to the recording studio following their German tour in 2018. Having lived in each other’s pockets and playing their new songs every night, the band were as tight and primed as they could possibly be. There ensued a few, very long, days of recording, capturing the essence of the band in their element.

The songwriting process was even more collaborative for this album, with the usual co-writes between Richard Olson, Sam Ferman and Patrick Ralla enhanced by Joe Harvey-White’s arrangements and Paulie Cobra’s harmonies. The biggest difference is that Sam Ferman sings lead on the first single “‘(I’ve Seen) The Summer in Her Eyes”, a song about lost love and self doubt channeled through two and a half minutes of garage pastoralism.

The album’s title track “A New Kind of Sky” tells a story from the point of view of somebody who idealises a past that never existed. The band go glam-rock on the stand-out track “I Will Please You”, a tale of a cult leader/world leader and his irresistible (for some) charm from the point-of-view of his most recent victim and “Heavy Blue” is a country music tale of drunken debauchery seen through the eyes of an inexperienced young man. The triumphant trumpet-driven song “These Rolling Hills” is a minor-key tale of a journey into the hills of Marin County, California undertaken by Paulie and Richard to visit friends Asteroid No. 4, with a most interesting outcome.

The Hanging Stars released their debut album Over the Silvery Lake in 2016, which received plaudits from broadsheets such as The Times, who described it as; "An album with enough of a hazy, sun-dappled charm to make the capital's dreariest weather bearable”, as well as The Guardian, who said; “Mersey-laced harmonies and just a whiff of the Gun Club.” They picked up a good amount of support at 6 Music and “The House on the Hill” scored a much-coveted 10/10 by John Robb on Steve Lamacq’s Roundtable.

Their second album Songs For Somewhere Else in 2017 received critical acclaim from the likes of Uncut (Revelations article), Shindig (several features and 4* review) as well as The Quietus and The Line Of Best Fit, plus radio support from Gideon Coe and Bob Harris (they performed an Under the Apple Tree Session for Bob Harris in January 2019).

Whilst playing their own successful sold-out headline dates, the band were invited to share the stage with Teenage Fanclub, The Clientele, Wolf People, The Long Ryders and GospelbeacH, as well as playing festivals such as Liverpool’s International Festival of Psychedelia, Red Rooster, Ramblin' Roots, UK Americana Festival and The Long Road.

Harrison Kennedy was raised in Ontario, Canada before moving to Detroit and enjoying success as the lead singer of Chairmen of the Board with the classic ‘I’m The Chairmen Of The Board’, . He left the group in the 1970s to start on a solo career. Hypnotic Music’ is Kennedy’s 1972 debut album released on Invictus Records. It’s an in- demand folk funk album. Kennedy is still celebrated as a singer, songwriter and performer. He was awarded in 2016 at the Canadian Juno Awards with the Blues Album of the Year. This classic is reissued on 180g heavyweight black vinyl with original artwork and printed inner sleeve. Album features rock orientated songs like the Beatles cover, social commentary with 'You Hurt Your Mother Again’ and psychedelic sounds like ‘Night Comes Day Goes’ – showcasing Harrison’s musical talents.

Album features Ernie K Doe’s ‘Here Come The Girls’, The Meters, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and more.

This is the definitive collection of New Orleans Funk featuring acknowledged masters next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900's.

A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk.

The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.


Reviews: "A Perfect Primer For Funk Fans" Q (Top 5 albums of the year). "Probably the finest compilation that Soul Jazz has released. Essential" Time Out.

Hotly-tipped Glasgow duo Manakinz are next up on Jasper James’ budding imprint Mitchell Street Records with a vigorous three-track dispatch.

Behind the duo is Jasper’s father and house music legend, James ‘Harri’ Harrigan, and venerable selector Affi Koman. Both are steeped in Glasgow’s rich musical history, with Harri being one of the legendary faces behind Scottish institution Sub Club with its world-renowned flagship residency Subculture, and Affi Koman is known for his lauded Sunday Circus residency.

Established in late 2018, the duo’s productions have bagged support from a long list of respected artists, including Andrew Weatherall, The Black Madonna, Levon Vincent, Ashley Beadle and Bill Brewster.

“A week after I got these tracks, I dropped the A-side ‘Snakehips’ at a Boiler Room gig and the reaction was amazing. Approval doesn’t get much better than spinning it through a road test and I’m looking forward to kicking 2020 off with this killer EP. ” – Jasper James

The EP leads with ‘Snakehips’ a frisky peak-time brew loaded with propellant, tribalised drums and a soulful vocal cut set to stir. On the B side, ‘Yamaha Rumba’ runs with the headiness, amplifying the atmosphere with a maelstrom of synths and skittering keys, and it hits the spot with the release of a lustful, lascivious female vocal. ‘Partizan’ completes the package, giving listeners a robust, heavyweight club track.

SOL DISCOS is extremely happy to introduce the second volume of their Message In Our Music compilation series, selected by WAXIST. This album is the result of more than two years of work in researching the original recordings, the artists involved & licensing the different songs. Focusing once again on the Modern-Soul genre, the album brings back to light eight extremely rare songs from the mid-70's to the mid-80's, all officially licensed. From the heavy synth Gospel Boogie of Sharnell Morton's "You Are My Shining Star", to
the magnificent Network & Co private Disco "Spirit Of The Boogie", most of these songs are highly difficult to find on their original format, not to mention at a decent price. Direct Connect Shun’s "He's No Good" records have been destroyed in a flood, and the few
copies which have sold on the Internet reach the 3 figures price tags for example. Also, the album is proud to introduce to a wider audience some lesser known but exceptional recordings such as Janice "Nikki" Harrison's "Magic of Love", which is taken from a Broadway musical produced & composed by Ted Wortham - who also composed for
Philadelphia International Recordings artists such as Teddy Pendergrass, Anthony White or Jean Carn. Message In Our Music Vol.2 has been fully remastered, and features interview based liner
notes, along with never seen before pictures of the artists selected

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

Two great 'Tom Moulton' Mixes back to back! 'SOUTH SHORE COMMISSION' were a self contacted soul/funk band from Chicago.
They released their one self-titled, Billboard Dance Chart No.1 album in 1975 on Wand Records from which comes the Bunny Sigler composed/produced track “Free Man” featuring Instant Funk.

It was recorded at Sigma Sound Studios in Philadelphia. This Tom Moulton mix on “Free Man” was an original feature of the album and is considered one of the first proto-house records.

ULTRA HIGH FREQUENCY:
More Philly splendor here from 1973 with “We’re On The Right Track” co-written and co-produced by Norman Harris. Mixed by Tom Moulton. Never previously released before on 12” single.

Since debuting on the label in May 2017, East London duo Earthboogie has been part of the extended Leng family. In rhat time, Izak Gray and Nicola Robinson have delivered a swathe of superb singles and a fine debut album, 2018’s critically acclaimed Human Call. Here they present their sole single of 2019, a two-track fusion of intergalactic, terrestrial and tribal elements reflective of their by-now trademark style. Fittingly, lead cut “Creepy Steve” – a previously unheard workout recorded during the sessions for Human Call – contains many of the musical ingredients that made Earthboogie such an enticing proposition. It boasts a raw, fuzzy and driving analogue bassline, densely layered tribal percussion, dub disco-influenced guitars, woozy electronics and sporadic blasts of African style chanting. As if that wasn’t enough to get the blood pumping, Gray and Robinson have also thrown in some extended, rock style guitar solos and more cowbells, bongos and timbales than you can shake a stick at



It comes accompanied by a previously unheard remix of “Human Call”, the title track from their superb debut album, by friend and fellow musical fusionist Joel Harrison. His version is warm, woozy, driving and percussive, brilliantly re-imagining Earthboogie’s original version as a supersonic slab of peak-time ready deep house. The band’s original chanted vocals, guitars and melodies slowly rise above bustling, all-action drums, weighty bass, alien-sounding electronic flourishes, poignant trumpet parts and seriously dreamy sustained chords.

A key player in the New York scene and boss of her own Dusk & Haze label, it was Francis Harris' Kingdoms that initially released Sophie Saze's standout two-part album, and that is where this forward looking package of highly original remixes lands. First up is German artist Roman Flügel, who’s responsible for a myriad of musical aliases and just as many different sounds. Here he is in experimental electronic mode and reworks 'Cure' into an elongated groove with twisted synth lines layering up over the shimmer, shadowy beats. It's a ghoulish track with a creepy atmosphere.
Swede Anthony Linell makes tripped out, heady techno on Northern Electronics, always with a stylish aesthetic. That continues here as he reimagines 'Aliens' as an absorbing cosmic soundtrack. Supple, rubbery drums bubble down low while broad pads and astral motifs colour the airways above and sink you into a state of trance. New York beat maker and Blueberry Records boss FaltyDL then steps up with a remix of 'Self'. It is a typically off-kilter groove that seems to float on post-jungle drums while distant synth details make for a dreamy atmosphere. Closing out this killer package is Saze's original track 'Dreams', an intense techno cut where coarse textures peel off the industrial clatter of the drums.

OUTRÉ comprises of Detroit natives Joshua Harrison and Joe Sousa.

Joshua Harrison has released on Psychothrill Records, Beretta Music, DeepLabs Detroit, and currently runs the digital music label NONCOM Records.

Joe Sousa has released on Blank Code Records, and worked with labels Detroit Underground and Acid Friend. He has forthcoming releases on Detroit Underground and Clan Destine Records.



OUTRÉ is an entity that has come forth since 2017. Risen from a portal into the more existential rifts in consciousness, a mirror from the abyssal realm of the minds’ eye.


OUTRÉ 01 is it’s inaugural expression. With focus on live extraction and textural abrasives, chapter one presents ominous weight and forebodeing chaos, yet embraced with melancholic atmosphere and ethereal release.