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hopefully ! - a life-affirming exploration of fatherhood, childhood and alternative music, marking Loyle Carner as you’ve never heard seen or heard him before.

Reissue of Don Cherry's 'Relativity Suite', recorded with the Jazz Composer's Orchestra in 1973. At this time, Cherry was becoming increasingly interested in Middle Eastern and traditional African and Indian music, having traveled extensively and studied with Indian musician Vasant Rai. This suite of songs was particularly influenced by the Indian karnatic singing tradition, as can be heard from the very opening moments of the album. Featuring Carla Bley on piano, Charlie Haden on bass, and Ed Blackwell on drums, as well as an extended horn and string section.

Hollie Cook, one of reggae’s most exciting voices, makes a return to the label that released her cherished debut album in 2011. Landing back on Mr Bongo, 'Night Night' is a stand-alone aperitif and taster of what to expect from the next era in Hollie's musical journey

Revisiting her roots, this latest single embraces the trademark reggae / tropical pop sound Hollie found fame with on her first two albums. With a career that has gone from strength to strength since those formative days, the buoyance, charisma, and confidence gained in those subsequent years are on show for all to see.

Recorded at Crosstown Studios in London with the General Roots band and produced, mixed and dubbed by Ben McKone, ‘Night Night’ documents the longing of a lonely lover. Grounded in a sound system rattling bass line, strutting guitars and shimmering keys provide a sunshine-infused contrast. Hollie’s smooth sultry tones radiate throughout, backed by the legendary Horseman on toasting duties - a collaboration that hasn’t been heard since Hollie’s first album. Trading verses, the warmth of Hollie's velvety vocals balances Horseman's raw explosive energy in an absorbing harmony.

In true reggae style, the 7" single is backed with a classic dub mix, adding spacey reverb and delays, whilst giving Hollie and Horseman a more spacious streamlined flow in the mix.

It takes grindin' to be a king and Houston's Mike Jones' work ethic of "You Don't Work, You Don't Eat, You Don't Grind, You Don't Shine" had his phone blowing up in 2005 with the release of his major label debut Who is Mike Jones? on Asylum/Swisha House/Warner Records. Mike Jones started rapping in the early 2000s and he released a couple of independent albums on his own label Ice Age Entertainment before linking up with Michael "5000" Watts of Swisha House. He recorded the underground single "Still Tippin" with Texas contemporaries Paul Wall and Slim Thug, which appeared on the Swisha House compilation The Day Hell Broke Loose 2. The song, full of southern hip-hop slang and braggadocio, was an ode to the classic car culture in Houston, Texas, and could be heard bumpin' out the trunks of cars nationwide with its heavy bass and classical string loops. Before the release of Who Is Mike Jones? girls would ignore him, but after the release of "Still Tippin" they were all up on him, which led to the release of the single "Back Then" where he shouted out his real cell phone number that played a major part in the marketing and promotion of the album.You could call 281-330-8004 and get his voicemail and leave a message, but sometimes he would answer, which led to spreading the word of Mike Jones' debut album. "Back Then" was also a top-selling ringtone because (back then) you had to buy and download ringtones, unlike today. Mike truly went viral before going viral was even a thing. After dropping the two hit singles, Who Is Mike Jones? was released on April 19th, 2005, and would sell over a million copies that year, leading to certified platinum status. Twenty years later, this Texas Rap classic still holds up with features from other H-Town legends including S.U.C.'s Big Moe (RIP),Bun B, Paul Wall and Lil Keke. Juicy J & DJ Paul of Three 6 Mafia added their Memphis touch to the "Got It Sewed Up Remix" and the album ends with a heartfelt dedication to Mike Jones' late Grandmother on "Grandma". Get On Down is proud to present the first vinyl reissue of Who Is Mike Jones? in a limited edition silver and red color-in-color pressing packaged with a full color printed insert tocommemorate the 20th anniversary of this H-Town classic

Lucy's 8th studio album is a collection of reimagined, reworked classics from her 7 previous records, plus brand-new songs - a brilliant mix of old and new.

It's a beautifully crafted album of hit records including her stunning song Sober featuring the icon Robbie Williams, as well as her debut hit Tea & Toast, plus brand new, never-before heard songs.

On 'Other Sides of the Moon', Lucy has worked closely with friend and mentor, Simon Cowell, who personally A&R'd and guided this album, lending his 40+ years experience in the industry to make the record an impressive collection of beautifully crafted songs.

Lucy Spraggan rose to fame on The X Factor in 2012 - in the height of its popularity - as the very first contestant to perform their own songs. Her audition was the 4th most watched video in the entire world

There’s a particular magic that happens when seasoned producers with global roots come together under a shared ethos - not for hype, but for connection. That’s precisely what MISINGO represents. A cross-continental studio experiment born out of Covid-era isolation, the group spans hemispheres and histories: Yorkshire's Doorly, L.A. legend Gary Richards (aka Destructo), and Australian duo Colour Castle. Their debut offering, Give You Love, lands via UK House Music institution Hard Times Records, and it’s as emotionally resonant as it is built for the floor.

Anchored by a slow-burning acid line and moody, immersive synthwork, 'Give You Love' carries the DNA of classic house without feeling like pastiche. DJ Rae’s smokey vocal, recorded in Doorly’s Ibiza studio, sets the tone - raw, intimate, immediate. Gene Farris enters with a gravelly, magnetic counterpoint, flipping the call-and-response into something spiritual. It’s a record that feels both new and deeply lived-in, a jam session from afar that somehow lands with unity and purpose.

For the remix suite, Hard Times dig into family ties and deliver a heavyweight lineup that spans generations of dance music lineage.

First up, DJ Pierre, the Phuture pioneer himself, brings a Wild Pitch revision that is pure summer sleaze and shimmer. Glistening keys, kinetic snares, and a syrup-thick bassline collide in a mix that’s tailor-made for golden-hour sets and open-air systems.

DJ Romain brings that New York swing. All velvet chords, stabbing pianos, and organ swells that spiral skyward. It’s gospel-house energy that doesn’t need to shout to be heard, a reminder that soul still moves the dancefloor.

Closing out the package is Charles Lavine of Soul Clap fame, whose Boston-bred funk sensibility steers things into new territory. He strips back the mix, lets Rae’s vocal ride the groove, and injects a subtle bounce that turns heads and hips in equal measure.

With 'Give You Love', MISINGO and Hard Times haven’t just released a single, they’ve bottled a moment: one born of distance, stitched together with soul, and destined for collective release on dancefloors worldwide.

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

Crafted entirely on an analog monophonic synthesizer with no overdubs, Pièces Monophoniques is a tribute to simplicity in an era of limitless digital possibilities. Since his debut album, Music For Prophet (Les Disques du Festival Permanent, 2017), Majorca-born composer Marc Melià, now a long-time resident of Brussels, has been redefining the contours of electronic music through a minimalist, reductionist approach. Much like a solitary hike through the vastness of mountains, where one carries only the essentials, Melià’s work invites listeners on a journey stripped of excess, focusing instead on the purity of sound and intention.
While some have dismissed monophonic music as overly simplistic, others have embraced its distinct charm. Historical records, such as those by Johannes Quasten, reveal that early Church leaders were drawn to monophonic music because it resonated with the era's cosmological beliefs, highlighting the harmony and unity of all creation. In an age of digital abundance, Marc Melià deliberately embraces constraint, crafting an album that thrives within a limited palette of choices. Yet, from these self-imposed boundaries emerges a stunning universe, brimming with rich textures and elegant harmonies. For his debut album, Melià worked exclusively with a Sequential Prophet. With Pièces Monophoniques, his third LP, he returns armed solely with an analog monophonic synthesizer and handcrafted MIDI sequences etched directly onto a single stereo track. These recordings seek to uncover beauty within the boundaries of limitations and simplicity, rejecting any embellishments that are not essential. Melià presents the bare skeleton of music, highlighting the power of absence and silence as creative forces. Like the hidden mass of an iceberg, what is not heard becomes as significant as what is heard.
The album navigates the boundary where the quest for an uninhibited emotional response intersects with the mechanical sounds generated by synthesizer circuitry. Despite being a collection of beatless tracks, a pulse occasionally surfaces, like in the closing piece, "224 Steps. A sharp sequence blended with multiple delays and reverbs creates the vaporous celestial specter of multiple voices in "Illusions of Polyphony", while "Échoes et Fantasies" conjures the illusion of dual harmony. The expansive reverbs and silences between the euphoric synth phrases in "Overture" transport us to an imaginary magestic landscape shaped out of an electric field. "Resonances," a one-note drone-like sequence, embodies the album's aims as a series of resonances created with the synth filter emerge from the fundamental note.
"Pièces Monophoniques," aims to contribute to a tradition that dates back to the dawn of humanity. After all, there is no denying that the earliest music crafted by humanity was monophonic, from the soothing lullabies sung to newborns to Gregorian chants, traditional labor songs, and the repertoire of solo compositions by countless composers.

PHASE SHIFTING INDEX is a time capsule record of Jeremy Shaw's vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw's seven-channel video, sound and light installation-that premiered at Centre Pompidou in 2020-uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece's key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities. Side A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, "Cross- Temporal Sync" soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black's "Mosh". Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into "Particles" sounds like the field recording of a disembodied neural cosmos. The B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black's authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of "The Cyclical Culture" and retro-cyber-funk of the "Zero-Ones," to the VHSdark- wave of "The Violet Lux" and skewed vocal/piano minimalism of the "Quantum Modern," each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of "Ramping" playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning. Phase Shifting Index premiered at Centre Pompidou, Paris, in 2020 and has since been exhibited in nine international venues including ARoS, Denmark, MONA, Tasmania, MAC, Montreal and Hamburger Bahnhof, Berlin

Albion Collective’s new dance-driven catalogue, Gold, opens its doors to a neck-snapping three-track EP limited to a vinyl edition of 100 from a brand-new name in dubstep, Adel Force. The name may be brand-new, but you’ve heard the Estonian producer’s celebrated talents across countless labels, soundsystems and DJ sets under the 15-year-strong moniker Bisweed. Now ready to metamorphose into the next phase of his artistic journey, Adel Force brings you the Twirl EP on Albion Gold.

Dropping the needle onto each Albion Collective release reveals a labyrinth of unique, experimental dubstep styles lauded for both their success in DJ sets and original sonic visions. Holding these pillars of pioneering creativity close to its heart, the new branch of Albion Collective intensifies its focus on moving people. No song could better exemplify the Gold catalogue’s dancefloor-igniting mission statement than Adel Force’s full-throttle opening track, Is This What You Want.

The Twirl EP vinyl, like all of the Gold releases to follow, is hand-stamped, numbered, and features a gold embossed logo. Following the DIY, hand-painted aesthetic, splashes of gold make each sleeve as distinct and unique as the music it cloaks. Albion Collective are proud to work with Adel Force on their debut release and bring you Twirl, the first EP of the Gold catalogue.

Collection' puts together Italia 90's first three EPs (2017-2019) originally released on very limited cassette runs. A chance to hear the South London radical post-punk purveyors at their rawest and most intense. Think The Fall, PIL, Uk Subs meets Wire with high doses of agit-pop and razor wire guitars.
Italia 90: "This LP is a collection of the three EPs we released on cassette from 2017 to 2019. They were our first three releases and they sketch the development as a band in its early years. We released these EPs ourselves and each cassette had a very limited run of only 50 copies, so we’re really pleased to have them remastered and available on vinyl for a wider audience.
We hope that some of these tracks will be granted a new lease of life and will be fresh discoveries for people that enjoyed our debut album, Living Human Treasure, but who haven’t heard our earlier work. There are also some tracks here that we’d rather forget all about: it’s fair to say that on this LP you can hear some of our best and worst music. We’ll let you work out which is which. In the interests of full disclosure, it’s all here."

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”

Underground hit makers Demi Riquísimo & The Trip combine their imprints and dexterity on the buttons for the first edition of TESSALICIOUS. Four burners fusing their respective penchants for earworms and dance floor functionality that’ll be heard right across festival season.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Single Sided Repress!
We've watched the movies, seen the photos, heard the stories. As in all of New York City, crime was as rampant in the subway as it was on the streets. Thefts, robberies, shootings and killings were a frequent reality throughout the 1970s. In 1979, a group of angered residents led by Curtis Sliwa began taking crime prevention into their own hands, donning red berets - looking very much like a gang and calling themselves the Guardian Angels. This funky track produced by the Legendary Patrick Adams and uptown empresario Peter Brown is an ode to what was hapenning at the time. Like many of the P&P records of the time, this wasn't dance music for flashy downtown clubs, it was the real uptown funk! With bass as heavy as rolling stock, and field recordings from the subway tannoy echoing along almost empty train carriages late at night, Margo Williams's vocals supply the inner city funk menace with some almost ethereal soul.' At a crossroads between funk, soul and an emerging Hip Hop culture this track apealled to both the disco crowd and the bravado of the uptown b-boys.

With their EP triptych "Thee Church Ov Acid House Volume 1–3," Oliver Bradford and Jörn Elling Wuttke created a holy trinity of diverse dancefloor variations, a self-contained circle of rave history.

In itself already a heavyweight statement, which they now crowned with “Bells & Whistles - Thee Remixes”. So to speak the quadrature of the circle And as with their original material, this release also reveals a profound knowledge of dance history in the selection of remixers - combined with the best of the here and now.

A1:
The trip begins with Jamie Hodges' ( Born Under A Rhyming Planet ) version of “Acid House Planet”. Hodge was responsible for a number of legendary EPs on Richie Hawtin's Plus 8 label in the early 90s, which explored the deep poetry of techno music. In this sense his remix is also a delicate affair of rarely heard beauty.

A2:
There's Thee Church Ov Acid House themselves, who stretch the swinging groove of Tyson's “G Phunk”, far too short in the original, to almost six minutes. A groove that won't stop.

B1:
And that brings us to the next two legends, this time from the local area. D-Man and Move-D have had a significant influence on dancefloor culture between Heidelberg and Mannheim since its inception. Their lysergic “Theme” remix, with Terrence McKenna vocals and acid twist in the middle, is an epic open air classic to come.

B2:
Lennard Poschmann's aka O-Wells' version of “Rave Mantra”, on the other hand, is deep, digging bass techno for the darkest moments of the night.

Vinyl EP2 featuring remixes of Man Power, As One ( Kirk Degiorgio ), HRDVSION ( Nathan Jonson ), Cosmic Cars ( Pudel Produkte, Smallville, Bureau B )

Carrying on from recent archival releases from masters of Indian classical tradition such as Kamalesh Maitra and the Dagar Brothers, Black Truffle is pleased to present a previously unheard recording of a concert by Pakistani vocalist Salamat Ali Khan. Born to a musician family in Hoshiarpur in the northwestern state of Punjab, Khan moved with his family to Lahore in Pakistan after the 1947 partition of India, becoming a child musical prodigy. Khan was a master of the kyhal form of Hindustani classical vocal music, a style integrating influences from Middle Eastern musical traditions that gives the singer a great deal of improvisational freedom. Travelling widely across the globe from the 1960s until his death in 2001, Khan approached ragas performed in the kyhal style as expressive forums for risk-taking improvisation, enlivened by ceaseless ornamental invention.

This remarkable recording was captured by Michael Hönig (of krautrock legends Agitation Free) in concert at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974 (which also featured Nico, Tangerine Dream, and Roberto Laneri’s Prima Materia, among many others). Khan, who is also heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither), is joined by Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. The lack of a familiar underlying tanpura drone gives this performance a weightless, floating quality, with all three of the musicians playing masterfully with the interaction between silence and the pulse propelling each section of the raag.

As Khan explains in his opening remarks, this performance of the rainy season Raag Megh is divided into three parts, each with its own tempo and rhythmic scheme (tala). The opening vilambit, in a twelve-beat tala, stretches out for over twenty minutes, lingering for a long time in a space of meditative calm, Khan lightly strumming the zither while exploring the lower end of his range in languorously extended notes. Virtuoso tabla interjections at first barely state the tempo, and the interplay between musicians is so spacious that we hear scraps of audience noise and the squeak of the harmonium’s mechanism in between the notes. Gradually picking up rhythmic definition and melodic complexity, after around fifteen minutes the music builds dramatically, with Khan letting out emotive yelps and swooping scalar shapes ranging across his full vocal range. This flows seamlessly into the following jhaptal, at a faster tempo in ten beats, which then makes way for the concluding teental, very fast in sixteen beats, which becomes a frantic improvisational exchange of daring rhythmic disruptions from the tabla, flowing harmonium melodies, and a stunning variety of vocal approaches from Khan, ranging from rapid-fire staccato consonants to guttural growls.

Accompanied by stunning black and white concert photographs, the LP also contains a moving and entertaining recollection from acclaimed German musicologist Peter Pannke, looking back on his experience assisting Khan and his musicians in Berlin at the Metamusik festival (including a mouth-watering description of a feast cooked by the maestro himself). As Pannke describes in his account of attending the concert, the beauty and spiritual intensity of this music leaves the listener speechless.

UK Salford band The Ting Tings released their first catalogue of hits in 2008, with global success taking them on an immediate 6-year world tour. That’s Not My Name, Shut Up & Let Me Go, Great Dj & Hands, still regular fixtures on playlists and syncs worldwide.

They vowed never to make the same record twice, 5 albums in, they are sticking to their word.

Their new album ‘Home’ was recorded in a wooden decked analogue studio is an easy breezy yacht rock album committed to traditional songwriting inspired by their all-time favourites, Fleetwood Mac, Dire Straits, The Eagles, The Carpenters, Cosby Stills & Nash, Supertramp, Christopher Cross, best heard in a car, preferably with the sea in view and the windows down.

Dez Dare launches into 2025 with his 5th album, ‘CHERYL! Your Love Shines Down Like A Supernova's Death'. Blending his unique mix of existential wordplay and experimental riffage to create an album that is at arms with itself while cohesive; cheeky and upbeat, simultaneously breaking our hearts. How often do we think about what we miss when we are distracted by shiny things? While fencing with social media, long winded stories, dreams of other lives, unnecessary toys, and irrelevant social experiments with happiness, we miss the things that make up our world. This album looks at those morsels of time and the bits that fill them, soaking existence… as well as manspreaders. Those people should be added to the 7th circle of hell… or suburbia. Either is probably a similar commute!
Dez Dare (AKA Darren Smallman of labels God Unknown, BATTLE WORLDWIDE, Low Transit Industries, and bands Thee Vinyl Creatures, The Sound Platform, Warped) grew up in Geelong, Australia, where he became involved in the local punk and rock scene in 1990. Sharing stages with the likes of 5678s, Cosmic Psychos, Fugazi, The Dirty Three and the Hard-ons, before shifting his focus to running record labels. In the 2020s we see Dez Dare take form in a spare room in Brighton, UK, where Dez starts building his own studio and producing music and videos that have been described as "sounds like MONSTER MAGNET and DEVO caught in a drug bust… highly unique and highly recommended" by MAXIMUM ROCKNROLL Nick Odorizzi to The Wire’s Edwin Pouncey "dynamically armed with a ten-pronged set of lyrical barbs and musical hooks that, once heard, sink deep and hold fast" to Crossfire Metal "minimalistic, electronic psychedelic hippie poop that is only bearable with a hell of a lot of acid, angel dust and LSD". On this album Dez was joined by Laura Loriga on backing vocals and Jonny Halifax on backing vocals and lap steel, expanding on the sound of previous records and adding a new dimension to his trademark weird-n-roll.


[a] 1.Cheryl! [Loading...

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

With a stream of fascinating appearances Cleyra’s singular production has caught the ears of some of the most adventurous DJs and heads around the world. One of Bristol’s best-kept secrets now lands on Timedance with their sumptuous debut EP ‘remember this body?’. Charged with a juxtaposition between feverish peak time and dreamy downbeat, the producer here displays a sonic palette which is as eerie as it is advanced.

On ’remember this body?’ Cleyra offers a kaleidoscopic view of their diverse approach to crafting songs, nourished with a deep, emotional and seductive energy. Across five tracks we take a deep dive into Cleyra’s idiosyncratic worlds. Subdued pads carry us through lucid-dream-inducing soundscapes where strangeness and elegance go hand in hand. Then come playful twists, as a harder side to their sound is unleashed, engineered to alight the sweatiest and most mutant of dancefloors.

On the flip side, Cleyra takes listeners on a breathtaking ride over the course of a 17-minute epic ’There Is Nothing Happening Between Us’, navigating between mournful ambience and heads-down pulsating Techno with a grace and delicateness rarely heard. The track fades before bringing things home with lush, dubbed-out, synths, suspending time with a poignant elegance

“ONE OF A KIND” enlarges the Cool Million sound universe and starts a new direction of contributions to a more diverse Boogie Funk style package. Cool Million’s “One Of A Kind”, the newest dancefloor happening features a longtime friend and vocal contributer by the name of Seest, a danish Soul singer, we have heard before. This single walks the funky walk on the path of jazzfull Boogie Funk sounds inspired by such like Earth, Wind & Fire, Kool & The Gang, Crusaders and others and features rich and powerfull horn arrangements, cord changes and driving bass lines. Up-tempo Power-Funk at it’s best proofing that Cool Million is one of a kind ever since… This exclusive single release marks the first release of the next upcoming Cool Million album to be released in early 2026.

Born from a desire to explore her background in film composing to create a music film, Hannah Holland’s upcoming album 'Last Exit On Bethnal’ is set for release via PRAH Recordings on 18th July. Together with director Lydia Garnett, the multi-faceted London producer shaped ideas born out of images the pair weren’t finding in film, inspired by queer icon filmmakers like Kenneth Anger and Derek Jarman. “We wanted to craft something unapologetically for dykes: a poetic, surreal exploration of dyke power and sexuality set in a fantasy underworld,” explains Holland. Once the film was shot, she channelled its stunning imagery and the energy of the cast into making the record. Seductive and bass-driven, its nine tracks merge sleazy guitars with 707 machine drums, beautiful evolving arps, and surreal moments of Lynchian dreaminess and Aphex Twin-inspired atmospherics. "It was a really amazing collaborative experience and coming together of a community to make something totally unique….and hot!” she continues. The first single ‘Biker’ features a filthy synth hook atop Hannah’s signature bass-guitar, perfectly capturing the raw and sexy energy of the album and its visual centrepiece. You can listen to it here. The film will be screened at a one-off club night at London’s ICA on 11th April in association with Culture Divided, Somesuch and Bala Project.

Hannah Holland has played a pivotal role in London’s alternative and queer London club scene since the mid-noughties. Rooted deeply in London’s fertile musical community, musical exploration and the transcendent potential of dancefloor have always been her biggest inspiration. Her recent delve into experimental theatre, film and TV scores has proved a future further artistic voyage to explore her creative vision. Holland first arrived on dancefloors sharing electro-tinged techno, with equal inspiration taken from the sounds of DnB and jungle heard at legendary parties such as Metalheadz, which she had frequented in her early teens. Having already been “borrowing” (and perhaps never since returning) Kraftwerk, Grace Jones and Talking Heads records from her parents, the influence of this metropolitan musical soup ensured that Holland emerged on the decks with a unique musical character and diverse taste, hallmarks of her sound that she has not lost since. This has been reinforced with trusted residencies at iconic parties such as Trailer Trash, Adonis, Glastonbury’s NYC Downlow, or undertaking far-reaching marathon sets at Berlin’s Panorama Bar. In 2006 Hannah started Batty Bass with vocalist Mama. Immediately a roadblock party and then a record label with releases from Josh Caffe and The Carry Nation sitting in its discography, Batty Bass explores the disparate strains of electro, acid, techno and house. Hannah also released her own music on the label including the ever-anthemic Paris’ Acid Ball.

A steady stream of releases have followed on Shall Not Fade, Super Rhythm Trax, Crosstown Rebels, Classic, Nervous, as well as remixes for Blessed Madonna ft. Kylie Minogue, Planningtorock, The Knife and Goldfrapp among others. Hannah also finds the time to play bass in several bands including Black Gold Buffalo whose debut album she also co-wrote. Her much-anticipated debut album, Tectonic, came out on PRAH Recordings in 2021, with a second on the way. Hannah’s latest venture into the world of film scores have included queer icon Bruce LaBruce’s ‘The Visitor,’ Channel 4 series Adult Material and award-winning indie feature Electrician.

Hannah Holland continues to push the boundaries of electronic and live music, telling stories and carving her own path in the deeper frequencies.

Skyjoggers, the innovative band from Tampere, Finland, fuses the exhilarating elements of space rock and psychedelic soundscapes. Their music captures the essence of cosmic exploration, characterized by hypnotic riffs and an experimental approach that pushes boundaries. With a focus on dynamic performances and rich instrumental textures, Skyjoggers invites listeners on a journey through uncharted musical territories.
On ”12021 : Post-Electric Apocalypse” Skyjoggers focus on themes such as death, loss and despair. Writing of the album took place during the pandemic, forest fires in the Amazon and wars around the planet - the band took inspiration from such themes trying to channel the hard topics into something beautiful shining a ray of hope and light into the world through music. The album showcases the heaviest side of Skyjoggers heard to this day, bringing elements of black and doom metal into the band's unique mix of modern space rock.
Skyjoggers are:
Alexi Belle - guitars & effects - Juan Rico - bass, synth & vocals - Gabo Sabor - drums & vocals

"In a world where it is easier than ever to say something, it is actually the hardest time to be heard.
We are constantly bombarded by so much information and/or distractions that people can hardly be blamed for not tuning in.
The box has been constructed to be safe, so why step outside it?

The vibe shift is undeniable but everyone is free to choose which frequency to tap into.
Music can be nourishment for the soul if you have the right ingredients. Even then you need the right chefs to cook it properly to be served.
Meftah and Ideeyah have taken their time to create something that feels complete.
Something intentional. Meditative.
Another piece in the great chain of the African Diaspora.

Where else but Detroit could something like this come from?
A complete concept that is unabashedly of the present but still honors the past. This is Soul music. Crafted with love for community, for heritage, for fulfillment.
There was a method to the madness, a reason for the gradual formation of artistic merit that is presented to you now.
This music contains a universal message if you can open your eyes and mind to it.

Less talking, more doing.
Go out there and be somebody again.
Reclaim your light under the sun.

Swing Low, Sweet Chariot.
For Funk is it’s own reward,
if you want it to be.

- Turtle Bugg"

In 1968, Vince made a label switch from his long-time home, Fantasy Records, to his new label, Warner Bros. Records. For his inaugural album, he decided to re-interpret his Peanuts classics on Oh, Good Grief! In addition to the instantly recognizable Guaraldi sound of piano, bass, and drums, this time he added electric guitar and electric harpsichord to the mix. The record was a smash hit. Omnivore Recordings is proud to, once again, present the album the way the world first heard it—as stated on the original album’s back cover, “on shiny black vinyl.” Well, actually, this special pressing is “on shiny yellow vinyl!” This timeless album has never sounded better. In addition to this special vinyl pressing, we now have this classic album available on CD for all shiny disc lovers.

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.

Angelo Debarre's extraordinary guitar technique has long been the tree that hid the forest of his profound musicality and above all, his talent as a composer. Belonging to the family of Django Reinhardt's heirs, Debarre has become a legend among Gypsy Jazz fans, one of those rare musicians, who can enchant a room and make hearts beat in unison.

The New Dictionary of Jazz (Nouveau Dictionnaire du Jazz) describes Angelo Debarre as supersonic, and indeed, he is with mad virtuosity. His left hand moves up and down the fine neck of his gypsy guitar, with speed but always with musicality. But it would be an understatement to speak only of his dexterity; he has a marvellous ability to play with subtlety, and his improvisational possibilities seem endless; all done with great ease and apparent composure. Solos, counterpoint, he's everywhere.

A child from the gypsy community, Angelo started playing guitar with his family at the age of eight. In 1984, he formed the first "Angelo Jazz Quintet". In 1985, he became one of the pillars of the famous Parisian cabaret, "La Roue Fleurie" and participated in numerous tours and recordings, including the famous Gypsy Guitars, a reference album of the genre.

Very comfortable in several gypsy styles, Debarre can be found alongside fellow guitarist Petro Ivanovitch and singer and balalaika player Raya from the group Arbat. As a guest, DeBarre can be heard with the band Bratsch, in dialogue with the pianist Bojan Z, percussionist Xavier Desandre-Navarre, the violinist Florin Niculescu and other leading figures of the gypsy guitar.

Angelo Debarre: guitar
Serge Camps: guitar
Frank Anastasio: bass

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

Nach seinen Megaerfolgen der letzten Jahre mit der erfolgreichsten Radiosingle 2021 „Save Your Tears“ (Platin) und dem erfolgreichsten Song 2020 „Blinding Lights“ (3x Platin) beginnt The Weeknd nun sein
nächstes Kapitel.
Dieses kündigte der Superstar bereits im Herbst 2021 mit “The Dawn Is Coming” auf seinen Social-MediaKanälen an und bestätigte die Gerüchte für ein neues Album dann an Neujahr. Der erste Vorgeschmack auf sein neues Album erfolgte mit der Single „Take My Breath“. Diese stieg direkt in die Top 20 der deutschen Charts ein und erreichte Platz 2 der Airplay Charts.

Sein letztes Studioalbum „After Hours“, welches u.a. die Erfolgshits „Blinding Lights“, „Save Your Tears“ und „After Hours“ enthält belegte Platz 5 der Albumcharts. Seine anderen Alben „Beauty Behind The Madness” (2015) und “Starboy” (2016) sind in Deutschland beide mit Gold ausgezeichnet. Sein neues Album „Dawn FM“ erscheint nun am 07.01.2022 digital und enthält Feature-Artists wie Jim Carrey, Tyler The Creator und Lil Wayne.

Am 28.01.2022 erscheint es auch auf CD und wird ab dem 29.04.2022 auch als Vinyl erhältlich sein.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Jackie Edwards voice can be heard on 100's of Ska, R&B. Soul and Rocksteady records.
In fact all the in carnations that evolved from Reggae.
He was at the birth of Island Records and his distinctive soulful voice has rightly given him the moniker of the Original Cool Ruler.
Jackie Edwards (b. Wilfred Edwards 1938,Jamaica)was a renowned singer from the early days and by 1959 had presented future Island Records owner Chris Blackwell with two outstanding tunes.
The first a sentimental ballad 'Your eyes are Dreaming' and a Latin beat tune 'Tell me Darling'.
His song writing skills were much in so demand and his popularity of such importance that when Chris Blackwell went to London in1962 to set up his record company he took his top Balladeer Jackie with him.
This would pay dividends when a UK group Blackwell had signed called The Spencer Davis Group went on to release two of Jackie's compositions 'Keep on Running' and 'Somebody Help Me', which topped the British charts in 1966.
We have compiled some of Jackie Edwards finest songs..all cool tunes in different Reggae styles but all sung to perfection..
Hope you enjoy the set....

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.