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AN EXCLUSIVE NEW LABEL DEDICATED TO JAZZ, HARD BOP, R&B AND SOUL MASTERPIECE IN STRICTLY LIMITED CLEAR VINYL EDITION.

Limited Clear Vinyl edition, 500 copies! “Bossa Nova Soul Samba” came as Ike Quebec’s best contribution to the fruitful marriage between Jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year. this was Quebec’s final recording before his death in January 1963. A beautiful studio session dominated by Quebec’s tenor sax warm tone and the light and gentle groove provided by Kenny Burrell - guitar, Wendell Marshall - bass, Willie Bobo - drums and Garvin Masseaux - chekere.

"Now comes Analogue Productions' 180-gram double 45 RPM reissue sourced from the original Island master tapes sent over from the U.K., cut by Kevin Gray at Cohearent Audio, pressed at RTI and housed in a laminated gatefold "Tip on" jacket complete with "pop up" band. The packaging is exquisite! Only word for it. AP couldn't get permission to use the pink label so it uses the green Chrysalis one. ... if the goal was to duplicate the original pink label Island sound, this reissue misses that, which is good because this new double 45 reissue is far superior to the original in every possible way. The tape was in great shape, that's for sure. Clarity, transparency, high frequency extension and especially transient precision are all far superior to the original. Bass is honest, not hyped up and the mastering delivers full dynamics that are somewhat (but only slightly), compressed on the original. Ian Anderson's vocals are naturally present as if you are on the other side of the microphone. Most importantly, the overall timbral balance sounds honest and correct. But especially great is the transient clarity on top and bottom. ... Best of all, as the title suggests this album "stands up" to time. It hasn't lost a thing musically, lyrically or sonically. Highly recommended!" — Music = 9/11; Sound = 9/11 — Michael Fremer.

Jethro Tull's second album, Stand Up, marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound.

Released in the summer of 1969, Stand Up rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.

Stand Up was the first album where Anderson controlled the music and lyrics, resulting in a group of diverse songs that ranged from the swirling blues of "A New Day Yesterday" and the mandolin-fueled rave-up of "Fat Man," to the group's spirited re-working of Johann Sebastian Bach's "Bouree in E Minor." In a recent interview, Anderson picked Stand Up as his favorite Jethro Tull album, "because that was my first album of first really original music. It has a special place in my heart."

Now with our 45 RPM release, plated at QRP and pressed at RTI, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound. You'll experience Jethro Tull classics such as "Bouree," "A New Day Yesterday," "Look Into The Sun," "We Used To Know," "Fat Man" and the rest with a new appreciation for the Grammy-winning progressive act's musical skill and innovation.

Die Martens Army, wie man sie kannte, wird nach dem Ableben ihres Drummers Fabi wohl nie wieder dieselbe sein. Aber dennoch muss es irgendwie weitergehen, denn das Leben schreibt weiterhin Geschichten, die erzählt und verarbeitet werden müssen.Aus diesem Grunde rückte auch das englischsprachige Musikprojekt zwischen Fabi und Stöbi namens "Skinhead Pride" schon aus Nachlassgründen in den Vordergrund.Seit mehr als 8 Jahren wurde an den Songs und den Texten gefeilt, die nun endlich ihren Abschluss fanden. Stöbi hat seine besten Mannen um sich geschart um ein spielerisch, sowie gesanglich hochwertiges Ergebnis zu erzielen. Mit talentierten Musikern wie Tim Steinfort (Gesang), Karsten Fiebig (Gitarre) und Rick Groenewegen (Bass) greifen die creme de le creme der deutschen und internationalen Oi! Szene an und präsentieren einen Sound, der in der heutigen Szene seinesgleichen sucht. Jeder einzelne Song ist durchdacht aufgebaut, grandios vertont und mit Gänsehautchören unterlegt, ohne irgendeinen Ausfall.Die Lieder reichen von schnellen melodischen Hymnen wie "Skinhead Rock´n´Roll" über eher szeneuntypischen aber dennoch grandiosem Rock a la ACDC ("My throat is calling for beer") bis hin zu eher ruhigen Nummers wie "Phoenix rising", welche auch dem härtesten Kerl die Tränen in die Augen treiben können. Dennoch bleibt man uneingeschränkt seinen Skinheadwurzeln treu.Diese eher besondere Plattenreihe der Martens Army wird zukünftig insgesamt 2 Alben umfassen, welche ausschließlich in englischer Sprache veröffentlicht werden. Dies bedeutet für Allrounder Stöbi allerdings nicht, dass er nicht bereits wieder an neuem deutschsprachigem Material arbeitet. Es bleibt also spannend bei den Jungs…..aber jetzt ist erstmal Zeit für "A Skinhead's Pride Part 1"!!!

Milly make songs that simmer and spark. The Los Angeles-based band, led by songwriter Brendan Dyer, finds power in the slow burn: their music carries the tension of a lake’s surface moments before a storm hits, or a cracking pane of glass moments before it shatters. Their debut album, Eternal Ring, is kinetic, physical, and often a little bit volatile — a mixture of emo music and 90s-indebted indie that tastes as if it’s been fermenting for years, feeding on itself until it becomes something new entirely. A profound first full-length statement from Dyer and his closest collaborator, bass player Yarden Erez, it’s a record that takes the anxiety of modern-day America and filters it through a prismatic, powerfully individualistic lens, resulting in something intense, bracing, and deeply modern

Svart Records proudly presents: Finnish prog-psych quintet Sammal sheds skin and changes into a power trio, new album announced Sammal have since their 2013 debut cemented their reputation as one of the leaders of the Fenno-Ugrian neoprogressive and psychedelic scene and also raised some waves internationally, performing at the well-respected Roadburn Festival in 2015 and garnering a series of raving reviews around the world of psychedelia and progressive rock fandom, such as “Truly amazing and otherworldy music” or “Earnest, vibrant music specked with impressive nuance”. A few years have passed since the successful Suuliekki album, and since then two of their five members have left the fold. Guitarist and songwriter Jura Salmi decided, however, that Sammal must continue in some form or another. “During the spring of 2020 I would spend time alone recording new demos with the guitar. The remaining three Sammal members had already decided that if the band was to continue, we would not seek another keyboard player.I had bought a guitar pedal that can simulate keyboard sounds and it opened a new world to me. I realized we can perform fine as a power trio without a bass or a keyboard player”, comments Jura Salmi. “Sammal has always been a melting pot of all music we like. If in the past we used to be heavily into bands lke Camel, Dungen and Opeth, when working on this album we’d liste to everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake”, laughs Salmi and continues, “We’d also pick the language of a song’s lyrics based on what we felt would fit the mood of the song. This album has songs in Finnish, Swedish and English.” Sammal’s unexpected prog-psych-boogie epic Aika laulaa will be released on November 18th on all platforms as well as on CD and LP.

Svart Records proudly presents: Finnish prog-psych quintet Sammal sheds skin and changes into a power trio, new album announced Sammal have since their 2013 debut cemented their reputation as one of the leaders of the Fenno-Ugrian neoprogressive and psychedelic scene and also raised some waves internationally, performing at the well-respected Roadburn Festival in 2015 and garnering a series of raving reviews around the world of psychedelia and progressive rock fandom, such as “Truly amazing and otherworldy music” or “Earnest, vibrant music specked with impressive nuance”. A few years have passed since the successful Suuliekki album, and since then two of their five members have left the fold. Guitarist and songwriter Jura Salmi decided, however, that Sammal must continue in some form or another. “During the spring of 2020 I would spend time alone recording new demos with the guitar. The remaining three Sammal members had already decided that if the band was to continue, we would not seek another keyboard player.I had bought a guitar pedal that can simulate keyboard sounds and it opened a new world to me. I realized we can perform fine as a power trio without a bass or a keyboard player”, comments Jura Salmi. “Sammal has always been a melting pot of all music we like. If in the past we used to be heavily into bands lke Camel, Dungen and Opeth, when working on this album we’d liste to everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake”, laughs Salmi and continues, “We’d also pick the language of a song’s lyrics based on what we felt would fit the mood of the song. This album has songs in Finnish, Swedish and English.” Sammal’s unexpected prog-psych-boogie epic Aika laulaa will be released on November 18th on all platforms as well as on CD and LP.

This Is For You, John is an album by saxophonist/composer
Benny Golson, recorded at Vanguard Studio, New York City in
1983 and released the year after. For the recordings, Golson was accompanied by Pharoah Sanders on tenor sax, Cedar Walton on piano, Ron Carter on bass and Jack DeJohnette on drums. The album features tunes associated with, or inspired by the famous American Jazz saxophonist John Coltrane, including “Times Past (This Is For You, John)”. “Origin” is an original, composed by Pharoah Sanders.

This Is For You, John is available as a limited edition of 1000 individually numbered copies on green coloured vinyl. The back of the sleeve contains extensive liner notes by Benny Golson, reflecting meetings with John Coltrane and the inspirations behind the songs.

Rounding off the year on Redstone Press, Debba comes correct with a varied 4 tracker laden with hefty subs and lock tight percussion.

The A-side starts out with fast-paced staccato kicks and the oscillating, warped bassline of ‘Called Up’. These elements soon develop into a twisted, energetic romp, showing Debba’s innate knack for upfront, low-end percussive work. Continuing with this theme ‘Direction’ adds reverb drenched vocals to the mix and ups the bass weight, with gritty, looping subs throughout. These two will put that soundsystem you’re dreaming of playing on to the test!

The B-side is more restrained and meditative but retains the heavy subs, opening with the downtempo and introspective chords of ‘I Said’. The drop in pace gives Debba’s signature beatwork and melodic flourishes space to breathe with the dreamy synths of ‘Subtle’ building up, then breaking down into a low-slung UK Techno roller.

Limited to 100 copies. DON’T SLEEP!

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

Teno Afrika's 2020 debut "Amapiano Selections" drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs "Where You Are" expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on "Where You Are." For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and Kaycee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo Musiq, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next. Also Available From Teno Afrika: Amapiano Selections LP/CD. Track listing: 1 Teno Afrika ft Leyla “Where You Are” 2. Teno Afrika & Diego Don “SK Love” 3. Teno Afrika “Bells” 4. Teno Afrika ft KayCee “Fall in Love” 5. Teno Afrika “Gomora Groove” 6. Teno Afrika “Halaal Flavour” 7. Teno Afrika & Diego Don “AK Love” 8. Teno Afrika ft Stylo MusiQ “Duma ICU”

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

Portland's premiere purveyors of kraut-inflected party rock return with an
album's worth of tunes crammed into an extended playing set
The eponymous lead track bursts out of the gate with ebullience. Lee Ritter's
rhythms and Cord Amato's riffs fit comfortably in the space where Kraftwerk left
off and DEVO began. "Artificial Head" may be about a Fleshlight, or it could be a
paperback sci-fi-derived weed fantasy. You could listen to Møtrik while sober, but
why would you do that? Next up is the measured and groovy "Castle Electric"
which features a dialog between bassist/vocalist Erik Golts and a sexy computer.
His German is easily as good as her English and one wonders how the night
ended after she switched the lights "auf." Side one completes with "Unifox" built
up from a Dave Fulton synth composition into a full- fledged Møtrik track, this
being the first time the band has bucked its contrarian vision of a band that jams
in its own professional recording studio yet refuses to produce itself. "Outer
Reaches" is the patiently awaited sidelong epic. The contemplative and
exploratory scene begins with chirrups from an analog swamp, then slowly rises
through the hazy pastel atmosphere on a crystalline bubble before blasting off
into full- fledged Floydian outer space psych. As always, Møtrik colors between
the lines, applying its overall aesthetic to rock music, which is to say it's the
FORTRAN approach to basement partying. Artificial Head is just what your body
needs to feel complete. Pressed on Light Green Color vinyl.

Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Holland, Archie Shepp, Marion Brown, John Surman, Paul Bley, Evan Parker just to name a few! Originally recorded as part of a 3 hours session this solo tour-de force expresses the true essence of a genius. A multifaceted, kaleidoscopic journey through a myriad of melodic, rhythmic, fretted and bowed lines. In other words: a true master class and a seminal statement from one of the greatest figures in creative music!

"...Not just an improviser of the highest order; but a true sound sculptor capable of drawing from his instrument such a vast array of shapes and colours that his creation is almost a form of visual art for the ears." Jazzwise

A new entity has made musical contact with Shipwrec. Alpha Vistor. The newly minted moniker of musician and sound designer Ivan Zapico, this four tracker debut is steeped in the traditions of electro. In the ghostly "Ciudad Fantasma" threats lurk in the murky shadows of basslines and beats, an unsettling atmosphere of menace penetrating speakers from the outset. Clinical percussion and an overarching unease introduce "20202020." Dark undercurrents of melody brood below shimmering glass chords in this foreboding work. The flip comes to life with "Malos Tiempos para la Guerra," an ominous prescience coming to bear in the track title. A hi-hat haze is broken by sweetened strings, a kick drum maintaining the intensity. When a snare arrives, it is accompanied by greasy acid basslines; brightness countered with shadow. The final encounter comes with "Templo de Cova." A soaked beat surfaces amid stabbing sythlines and twilight tones that break to triumphal highs, a reflective culmination to this ruminative record.

Cultivated Electronics presents For The Floor, a new series of split 12s on its vinyl-only sister label CE LTD. For the Floor is strictly aimed at the dance floor and showcases CE regulars alongside new artists with EPs incoming from DeFeKT, Rico Casazza, Tripeo, Cycloplex, Steve Allman, Alex Jann, Cyphon, Obzerv, Maelstrom and Sync 24 x Alienata. Hot on the heels of his latest release on the mighty Tresor, Irish Electro king and CE regular DeFeKT kicks off the series with 2 dancefloor destroyers. "Control Your Mind" rips through with harsh distorted 808s and booming vocals while "Fear and Body" is a spooky, funky electro groover perfect for dark basements. On the flip, CE welcomes back Rico Casazza to the label. Rico continues the electro funk vibes with "Home Here Us", slick beats and a bubbly bass line lay down the backbone of this peak time banger. Things then go deep and trippy and acidic with "Caldo" , a rolling robotic groove made for the club!

For whatever reason, the new Detroit label Choose Better Friends is dropping three brand-new and red-hot EPs all at the same time. We're fine with that because this trio of 12"s is quality US house direct from the source. Gino is behind this one and serves up four tunes for heady dance floors. There is a sense of intrigue to the scurrying toms and muted chords of 'Rawhide'. They unfurl over pinging kicks and clouds of sub-bass to great effect. 'Gitteshouse' is more romantic, with jazzy motifs drifting up top over a slick deep house beat that pings back and forth, and 'Truffaut' then picks up the pace for an edgy mix of unique synth sounds and chunky drum funk. 'Frontandback' gets raw and to close down with rock-solid kicks set to rattle walls.

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

Pianist, drummer, composer and producer Hamish Balfour presents jazz funk, soul and electronic music, bridging the gap from classic Blue Note to Warp via Sonar Kollektiv on Running Colours, his electrifying debut album for London's Shapes of Rhythm Records.

Praised by Jazzwise for hissolo flourishes and sidestepping harmonies, Hamish Balfour should be a recognisable face to jazz addicts. The go-to keys player has performed and recorded alongside American jazz drumming legend Harvey Mason, Tenderlonious, The Temptations, Odyssey, Faze Action, Yolanda Charles' Project PH, Bassically, Nim Quartet and Yam Who. Popping up not only in the credits of many sought-after albums, but also Channel 4, ITV and BBCprogrammes for his compositions on various shows.

Over the course of eleven tracks, Balfour folds in and explores his influences, with a wide yet highly cohesive and strong palette of sounds, whilst interacting with high caliber guest vocalists such as spoken word artist and broken beat icon, Lyric L(Seiji,Nathan Haines), London Elektricity and Hospital Records' star vocalist Elsa Esmeralda, award-winning and chart-storming singer-songwriter Belle Humble (Freestylers, Paloma Faith) and soul and house mainstay Andre Espeut (Afriquoi,Simbad,Faze Action).

Responsible for all piano, synths, percussion and production on the album, Balfour's musicality shines through, a reminder of how overdue this debut album as leader is. However, in addition to the incredible vocalists, he's joined by some of the UK's finest jazz musicians: James Copus (trumpet), Pete Matin (bass), Laurie Lowe and Saleem Raman (drums) and Rob Updegraff (guitar).

Elsa Esmeralda implores us 'not to be afraid' on lead single and title track Running Colours. A perfect invitation to get stuck into this many layered album. Balfour compliments Esmeralda's soothing vocals with delicate piano intro before Lowe's bruk-easque drums and lead an irresistible groove bedded in warm synths and guitar licks.

Yes or No showcases Loose Lips legend Lyric L contemplating the uncertainty of love over a swinging mid-tempo jazz funk boogie groove propelled by tight drums and Hammond chords, closing with a flying trumpet solo from Copus, weaving around Balfour's nimble keys.

Wealth, featuring singer/songwriter Belle Humble, displays incredible depth and restraint. Humble delivers the enticing vocal with ease, as it slides over the intricate webs of jazz fusion and electronics.

Mogul is arguably Running Colours' curveball. An eastern-inspired whirlwind of all manner of synths and twisting drums which constantly morph throughout. Guitars and trumpets take turns to solo on a track that feels like a series of questions that we never quite get answers to.

Balfour's ability to merge free wheeling jazz and fusion with timeless electronic production and soulful compositions is also apparent on instrumental pieces such as Reflector 28. Here, we find the musicians upbeat, uplifting, progressive and playful, showcasing the keys whilst the bass underpins the groove.

South Of The Sun is Running Colours' laid-back moment with Roy Ayers-type vibrations as bass and drums sit in the pocket (at least to begin with), whilst a Rhodes weaves its magic. Like many of the album's tracks we take a few twists and turns before returning to our main feel-good motif.

Hamish's long awaited debut is sure to exceed the expectations of those who know him already, whilst introducing a whole new audience to his wealth of talent and originality.

'Hidden Gem' is the Zenmenn's first full album produced together with songwriter and vocalist John Moods and follows their much-loved debut record, 'Enter The Zenmenn'. Named after a country song that didn't quite make it to the final selection, 'Hidden Gem' is the result of an extended jam session at a friend’s studio, in a field of mystical meadows somewhere south of Hamburg, in which the band would experience a series of inexplicable phenomena.

It was their earlier collaboration on the future classic, 'Homage To A Friend' that kickstarted their idea to team up with John Moods again, and in the late summer of 2021 the band set to work on a full album of material together. Using The Zenmenn's trusted drum kit, good old DX7, an unusual Ukrainian bass and an almost discarded pedal steel guitar, combined with Moods’ uniquely fragile voice, the outcome resulted in six timeless songs. The resulting harmonic sound is, as the band put it, “something like Adult Oriented Rock with a teaspoon of Celtic sentimentalism, a pinch of big city Country wrapped in a late night '70s style jam”.

'Hidden Gem’, much like their previous LP, was recorded without pre-arranged songs or any fixed musical concept. Instead, it captures fleeting moments of creativity and reflects the joint musical sentiments of the band members at the time. “Some artists are amazing at vision and curating, our work-flow is opposite to that. We are pretty messy and all over the place in our creation, as in life. It has its advantages and disadvantages, but hopefully it comes out all right in the end.”

The word datasal paints inner pictures for most people growing up in Sweden during the 1990’s. The datasal (a classroom for computers) was an ordinary classroom with few changes to fit the school’s 10 newly leased computers. The room represented the change of times in Sweden during this period: the fixed institutions and the awaiting digital flood wave.

The music of Datasal sounds captures the feeling of printing a downloaded picture of your favorite hockey player or music artist or the expectations building up as you wait for the modem to log in to interact with the thousands of users of the internet in 1995. The two tracks on this release manifests the excitement but also the bit of fright you felt connecting to the world in the mid 90’s - a time when the internet still was fun.

The sound is built around repetitive sequencer loops and programmed beats where electric bass, electric guitar and flute improvise around a theme, creating a sound that is best described as cosmic flute house. Datasal is an harmonic reminder of a time where digital progress seemed less harmful than today.

Maxi Priest teams up with Macka B to cover Ras Michael's Rasta Hymn 'None a Jah Children'.

The vocals were orginally used for Maxi's Hit album 'Easy 2 Love'. Now they are remixed by new producer Fliomuzik featuring added vocals by Macka B.

Orange one sided EP, Printed sleeve and coming with an comics Inserts !

psychedelic gabber, old school... with a Dj Ruffneck reworks... DRUM & BASS hardcore oldschool killer !!

a A1 The Final Riot Incursion - DJR VIP 01
[b] A2 The Final Riot [Recursion - DJR VIP 02]
[Conclusion - DJR VIP 03]

Phase Group continue their exploration of the fringes of contemporary electronic music with a release that brings together two separate projects born from analogue hardware improvisations.

‘A Given Moment’ presents the dub-laden, mind-bending and noise-driven music of Brussels-based artist and Vastechoses label head Lostsoundbytes, and the lo-fi, early morning lysergic experiments of Lowspace, an unearthed, forgotten collaborative project by French DJ and musician Low Bat and Dresden-based producer Heninspace.

This is music that takes you deeper into the vortex, made for dark and smoke-enveloped clubs and cosmic day-break afterparty moments. On the A-side, Lostsoundbytes continues his prolific output of masterfully crafted bass-heavy and dub-wise analogue machine jams, while the B-side presents two lost psychotropic experimental recordings by Lowspace made in 2016 upon a visit by Low Bat to Heninspace’s Dresden studio.

'A Given Moment' will be out on Phase Group in December 2022

Artwork by Andrija Čugurović
Mastered in Glasgow by Murray Collier.
Professionally dubbed to cassette in Prague by Headless Duplicated Tapes.

London based label Natural Selection present their 3rd release in the form of a 4-track physical and digital EP courtesy of Kamikaze Space Programme (aka Christopher Jarman), entitled "Ashes To Ashes, Dust To Dust EP". The release also features a remix from Slave To Society (ex AnD). Cut by Simon at The Exchange Vinyl and mastered by Dadub Studios, Berlin.

Jarman is widely considered as one of the most forward thinking and innovative sound designers around. With roots indebted to the music he released as Raiden in the early 00's, his abstract, field recorded, industrial and broken admission into the annals of Techno via his prevailing alias; Kamikaze Space Programme, has seen his music backed, supported and released by the heaviest of renowned labels such as MORD, Mote-Evolver, Osiris, TRUST & more.

As an avid field recording artist, Jarman's release by and large is made up of foley sound design and sonic experimentation using bespoke apparatus and homemade microphones. Capturing internal resonances and electromagnetic radiation of objects, re-amplified or organic, classic hardware dub mixing completes his instantly recognisable Kamikaze Space Programme aesthetic, and successfully traverses the divide between Techno, Drum and Bass, Electro and Breakbeat.

Natural Selection are well known for bridging the heavier spectrum of Techno, Electro, Acid, etc. with new, experimental style and form. One can always expect cutting-edge, hard-hitting, underground electronics from Natural Selection, with extreme diversity in sound.

Kings Bell, first made available to the world on CD and digital on November 1, 2011, is now being released on a 12" vinyl courtesy of Before Zero Records. This LP joined the best of St Croix with the best of Jamaica: an amazing lineup of players spearheaded by the venerable Jamaican production maestro Andrew "Bassie" Campbell. The result of this collaboration is Kings Bell – a modern roots masterpiece. As Vaughn Benjamin's first-ever full-length collaboration with a Jamaican producer, Kings Bell was a historic release and features some of the greatest musicians the genre has ever seen including Leroy "Horsemouth" Wallace, Earl "Chinna" Smith, Squidley Cole, Mikey "Boo" Richards and Sticky Thompson.

The driving musical force behind the album, producer and bassist Andrew "Bassie" Campbell has crafted beautiful rhythms that truly compliment the deep lyrics of Vaughn Benjamin. The power and authenticity of Andrew Bassie's productions stand out from the mass of slickly-produced modern roots coming out of Jamaica today. Much of the music was recorded organically in Jamaica at Tuff Gong Studio, with additional overdubs, vocal recording and mixing completed at I Grade's studio in St. Croix. The result is a collection of songs that capture not only the essence of classic roots from the hands and minds of some of the individuals who have literally helped build the genre, but also the urgency and innovation of the present time. In more than seventy albums and in over twenty years of Midnite music nothing like this cross-fertilization of Jamaican classic roots tradition mixed with St. Croix's own deep roots tradition has ever happened, making "Kings Bell" a glowing highlight in the expansive catalogue of Vaughn Benjamin. A catalogue born from a non-stop movement in pursuit of progressing his craft and delivering his message to the world. One of Benjamin's most fruitful stops along his journey was with I Grade Records, headed by producer/engineer/multi-instrumentalist Laurent "Tippy I" Alfred, regarded by many as some of the finest work of his career.

Detroit based 3-piece combining a blend of industrial, deathrock, drum machines, gothic elements, soundtrack scapes, spaghetti western guitars and a thick, rumbling bass tone. Features new mixes by Adam Stilson, mastering by Rafael Anton Irisarri and a re-imagining of the original artwork by Chris Samuels. The vinyl & CD packaging includes a 12-page booklet of photos, lyrics and images from the original release date, (2012/2013). The story of Ritual Howls begins in a southwest Detroit basement in the early winter of 2012. Singer/guitarist Paul Bancell had been writing and performing solo as well as in several bands and was looking for collaborators for a new project. Ben Saginaw (bass) and Chris Samuels (synths, drums, drum machines) were acquatances that became natural fits. With the help of a friend (Jeff Navarre), they recorded their first full-length in Ben's art studio using a laptop. Paul tracked vocals at home in his bedroom and, not wanting to relinquish control, mixed and mastered the album himself. A formidable introduction to the band's haunting, cinematic blend of twangy industrial rock, their self-titled album established the band as a unique force in the landscape of dark music, both past and present. Separated by a decade, four LPs, two EPs later, Ritual Howls is an impressively cohesive first effort and testament to the band's vision that, even in its infancy, forged a distinct sound that has only matured with perfection over time. Past support from outlets like Stereogum, FACT, Tiny Mix Tapes, Self-Titled, Paste, Post-Punk, CVLT Nation + more. Track listing: 01. The Year Of Fear 02. Cemetery Guards 03. Keep Those Stones Up 04. L’Atalante 05. Rosabelle Believe 06. Anchorites 07. Hell Fuck 08. The Mark 09. Sacred Awe

Twelve years after their debut album On Location, George Kooymans and Frank Carillo return to the front with their second album entitled Mirage. Recorded over a period of approximately three years in various studios and countries, Mirage offers ten tracks that illustrate the natural chemistry between the two guitarists, showcasing artistic excellence, as well as a wide array of musical influences.

George and Frank are accompanied by Paul Orofino (banjo, guitar, Hammond organ), Rinus Gerritsen (bass), Bobby Langenberg (drums), Ocki Klootwijk (bass), John Sonneveld (keyboards, programming) and George’s daughter Cassy on harmony vocals.

Mirage is available as a limited edition of 1000 individually numbered copies on white coloured vinyl and includes an insert.

2022 Repress purple vinyl

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016.

Lucky', the title of Nada Surf's fifth album, is at once literal and ironic. Like the songs that singer / guitarist Matthew Caws, bassist Daniel Lorca and drummer Ira Elliot crafted for their previous two albums, Let Go' (2003) and The Weight Is A Gift' (2005), Lucky is filled with images of restlessness, longing and the elusiveness of love. Yet the band counterbalances the lyrical bitter sweetness with musical buoyancy. Intimate songs become in-it-together anthems, thanks to the chiming guitars, propulsive rhythms, and the emotional candour in Caws' vocals. A song like Beautiful Beat' segues from a sparsely arranged, confessional first verse into a harmony-laden chorus and reaches multi-layered, canon-like proportions before the track fades out. If Caws is often suggesting that romance and resolution may still be an inch or two out of reach, he's also proffering immediate musical solace. Turn up the volume, hit the repeat button, and your troubles, for a blissful three minutes or so, will disappear.

The three members of Nada Surf have played together now for a dozen years. They've survived overnight major-label success and the inevitable morning-after bleariness, persevering past obstacles that would have sunk a less resilient combo, to become one of America's most truly independent and respected bands. Experience has only made their work richer, bringing gravity to the subject matter and lightness to its presentation. Keeping things honest has become a modus operandi.

After a few good years of releases on labels such as the Catz’n’Dogz founded PETS or unforgettable hit ‘Turnaround' made it together with SLG for Play It Down, Smolny has started his own imprint called Bourassa Records.

‘Explain’ EP is the first release on the label and you can definitely call it bangin’ stuff! All the tracks are inspired by UK Dub and techno sounds. Smolny concentrated on the strong and soft bass line in the same time which literally vibrates and floats on the filter. In a balanced way, it gives tension in the tracks of well-arranged drums that kick you at the right moment. In each of them we can also hear a hypnotic vocal cuts that gives you slight anxiety and mysterious aura.

Repress !

It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on "Afternoon In Paris" -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from "Willow Weep For Me", "All The Things You Are", and "I Cover The Waterfront" to Milt Jackson's "Bags' Groove" and Lewis' title song. The big-toned Wilen was only 19 when "Afternoon In Paris" was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a sax man. A mythic LP and one of the best recorded in France!!!

repress !

Wax’o Paradiso Recordings presents its debut outing on vinyl, OK EG’s Intertidal Zone EP. The new label from the long standing Naarm (Melbourne) party is set to explore hi-fidelity, landscape-driven and cerebral music from the antipodes and beyond.

After sold out pressings on local imprints Animalia and Steeplejack, this EP explores a more contemplative side of OK EG, suitable for discerning dancefloors and meditative home listening alike.

Conceived in 2019 and completed in 2020, Intertidal Zone was recorded in collaboration with percussionist Phil Stroud. The rhythm tracks are a fusion of drum machines and hand drums, loose percussion, human voices and tuned percussion immersed in water. Joined by analog synthesisers, layered vocals, processed guitar and field recordings, the music evokes solastalgia and a reverence for nature.

The final track, Golden Hour, came from an improvisation with multi-instrumentalist Adam Halliwell on flute and jazz musician Jack Doepel on Korg bass, later transposed to modular synthesiser.

Wax’o Paradiso and OK EG acknowledge the traditional owners of the land on which this music was recorded, the Wurundjeri people of the Kulin nation, and pay their respects to elders past, present and emerging.

German alt-rock band Guano Apes was founded in 1994 and features vocalist Sandra Nasic, guitarist Henning Rümenapp, bassist Stefan Ude, and drummer Dennis Poschwatta. Guano Apes' sound is a fusion of metal, pop and rap. They entered the charts throughout the middle and late Nineties with singles “Lord of the Boards” and “Open Your Eyes”.

Planet Of The Apes is a compilation of the very best of Guano Apes. The record features all of their singles, their favorite songs and one song that is exclusively on this record - “Break The Line”. The 2LP is available on black vinyl and is housed in a gatefold sleeve.

The first album in 7 years from seminal electronic music pioneers and twice Mercury Prize Nominated, Leftfield. Currently reaching a new audience through Idris Elba’s Gucci ad, this will be their 4th album in their 28 year history. The new single will be featured in the soon to launched eFootball by Konami (previously PES).

Their last tour (in 2017) featured 7 sold out UK shows (including 2 X Brixton Academies), a sold out world tour and various festival headlines.

Quote from Neil Barnes: "I wanted ‘Pulse’ to be the first statement from the new album. It felt strong. Dance floor. Human. Positive. And I love the bass. It’s Leftfield."

Full pitch notes with bio to come

CULTURE

Leftfield (originally comprised of Neil Barnes and Paul Daley), have been at the cutting edge of dance music since the 1990s, releasing albums that have become some of the most influential electronic records of all time around the world with their debut LP 'Leftism' being widely regarded as one of the most boundary-pushing electronic LPs ever released.

In 2010, Neil Barnes reignited the Leftfield name, and went on to release an acclaimed new album (Alternative Light Source) touring the world with the full live band. Neil has also been cementing his reputation as a top-tier DJ and record collector unleashing modern dance floor weapons, selling out venues, headlining festivals and creating some amazing nights with his sets.

To confuse parts for the whole is inevitable with Palm. Drummer Hugo Stanley, bassist Gerasimos Livitsanos and guitarists/vocalists/high school sweethearts Eve Alpert and Kasra Kurt started making music together as teenagers, and spent much of their twenties in the kind of proximity unusual for adults, outside of touring bands and the International Space Station. For a number of years the band consumed the lives of its members to a point of exhaustion: “To be honest I think we got a little burnt out. There were times where it wasn’t clear if we’d make another record,” says Alpert. It was only after multiple freak injuries followed by a pandemic, forced a pause - from touring but also from writing, rehearsing, even seeing each other- that the four were able to regroup and see a way forward again.

On their latest effort, Nicks and Grazes, Palm embrace discordance to dazzling effect. “We wanted to reconcile two potentially opposing aesthetics,” Kurt says. “To capture the spontaneous, free energy of our live shows while integrating elements from the traditionally gridded palette of electronic music.” In order to avoid what Kurt refers to as “Palm goes electro,” the musicians spent years educating themselves on the ins and outs of production by learning Ableton while also experimenting with “the percussive, textural, and gestural potential” of their instruments. To this end, the band continued the age-old tradition of instrument-preparation, augmenting guitars with drumsticks, metal rods and, at the suggestion of Charles Bullen (This Heat, Lifetones), coiling rubber-coated gardening wire around the strings. The unruliness of the prepared guitar on songs like “Mirror Mirror” and “Eager Copy” contrasts with the steadfast reproducibility of the album’s electronic elements.

While Palm cite Japanese pop music, dub, and footwork as influences on this album’s sonic palette, they found themselves returning time and again to the artists who inspired them to start the group over a decade ago. “When we were first starting out as a band, we bonded over an appreciation of heavy, aggressive, noisy music,” Alpert reflects. “We wrote parts that were just straight-up metal.” Kurt adds, “I found myself rediscovering and re–falling in love with the visceral, jagged quality of guitars in the music of Glenn Branca, The Fall, Beefheart, and Sonic Youth, all important early Palm influences.” Returning to the fundamentals gave Palm a strong foundation upon which they could experiment freely, resulting in their most ambitious and revelatory album to date.

Yellow Vinyl

London Records releases remastered and expanded editions of Voice Of The Beehive’s classic debut 1988 album, ‘Let It Bee’ on November 25th.
Formats include a remastered gatefold vinyl edition in transparent honey yellow, and an expanded double CD edition featuring previously unreleased tracks, live versions and demos. All formats feature new liner notes by the band’s very own Tracey Belland.
In the mid 80s, armed with a only a suitcase of songs, Californian sisters Tracey Bryn and Melissa Brooke Belland escaped the American music industry in search of the vibrant British indie scene, finding recently split Madness band member Daniel ‘Woody’ Woodgate, who together with guitarist Mike Jones and bassist Martin Brett would form ‘the Beehive Boys’.
The powerful live chops of the Beehive Boys, combined with the harmonies, energy and stage presence of Tracey and Melissa, made Voice of the Beehive indie darlings and one of the hottest live acts on the London scene.
Signing with London Records, they recorded ‘Let It Bee’, its sunny exterior of sparkling indie guitars, energetic rhythms matched with lyrics and melodies that revealed both hope and an occasionally cutting cynicism.
On its release ‘Let It Bee’ was a UK Top 15 album, its singles ‘I Say Nothing’, ‘I Walk The Earth’ & ‘Don’t Call Me Baby’ all chart hits and radio favourites. Re-issued for the first time since its initial release. The expanded double CD version features ‘Cartoon City’, a band favourite recently uncovered and remastered from the London Records archives.

"Maskerade" gehört zu den faszinierendsten Fusion- und Spiritual-Jazz-LPs aus Westdeutschland. Das rare Album von 1974 wurde ursprünglich auf dem kleinen Label "Creative Music Records" veröffentlicht, in einer Auflage von nur wenigen hundert Exemplaren. Leader Dieter Bihlmaier ist ein fantastischer Flötist, der an einige der besten Momente von Ikonen wie Eric Dolphy, Sahib Shihab oder Jeremy Steig erinnert. Bassist Jan Jankeje, Perkussionist Gerhart Ziegler und Vibraphonist Gerhard Dietz bilden seine großartige Rhythmusgruppe, die die Erkundung der hochpolyphonen Kompositionen der Band mit einem leichten Hauch von Free Jazz vorantreibt. Dies ist die erste Wiederveröffentlichung, liebevoll remastered in 2022, mit Original-Cover Artwork und Sleeve Notes.