Поиск:k line

Gary Marks ‘ Gathering’ is exactly what you would call a miracle. Self-produced in 1974 and engineered at Vitra Sonic Recording Studios in New York, the album introduced the crispy talent of the guitarist/pianist and producer. A genuine blend of folksy harmonies and jazzy arrangements, the record could have been possibly the missing link between Tim Buckley ‘Starsailor’ and some early seventies Impulse ! session. Now it’s about time to get a hold of this masterpiece

”Gathering includes guitar legend John Scofield, the amazing jazz pianist Michael Cochrane, and one the of the top vibraphonists in the world, David Samuels. But at the time none of them were known to the general public. In fact, Gathering was the recording debut for all of us.” (from Gary Marks liner notes)

Major-label debut by You Me At Six, Hold Me Down, was released on Virgin Records in January 2010, after the success of their debut album Take Off Your Colours - Released on vinyl for the first time, hear the album that cemented their reputation pressed on high-quality 180g vinyl. Taking their name from an abbreviation of the time they would meet, You Me At Six were formed in Weybridge, Surrey in 2004 by vocalist Josh Franceschi, guitarists Max Helyer and Chris Miller, and bassist Matt Barnes. Drummer Dan Flint joined in 2007. They first broke through at 2007's Slam Dunk Festival with their brew of heavy, melodic, emo-tinged rock, and after two self-released singles, the band signed to Slam Dunk Records. By 2010, they had signed to Virgin. Working with producers John Mitchell and Matt O'Grady, the band crafted 12 new tunes for Hold Me Down, including the singles Kiss And Tell, Underdog and Liquid Confidence which won Best Single at the 2010 Kerrang! Awards. The album reached No 5 in the UK chart, and fully established them on the vibrant UK rock scene. With a stable line up since 2007, You Me At Six have become one of Britain's most-loved bands, and announced recently that they will be splitting up after playing the Slam Dunk Festival in 2025, with Franceschi stating "Let's have the opportunity to say goodbye properly, versus slipping out the back door."

Black vinyl / 505mcn paper / 30 x 60 cm Insert with Liner Notes by Tony Higgins printed on 250 mcn Lenza Top Recycling Paper / Condensed interview to Spata Sisters and exclusive pictures.

Personnel:
Enzo Randisi - Musser Percussion Keyboards
Riccardo Randisi - Acoustic Piano, Rhodes, ARP & Korg Keyboards
Marcello Pellitteri - Drums
Giuseppe Costa - Acoustic Bass & Electric Bass Guitar
Mimmo Cafiero - Congas & Percussions
Sandro Palacino - Tenor and Soprano Saxes
Loredana Spada - Vocalist
Cinzia Spata - Vocalist
Mary Lo Giudice - Vocalist
Mariella Gueli - Vocalist

Notes:
Did someone say Summer? Sicily is what Cuba is to the Caribbean, sun, sea, easy and friendly people with lots of troubles! You won't find anything better around that identifies the summer more than this album by Enzo Randisi who at the beginning of the 80s put together a Swing Ensemble as a tribute to that "cheerful" movement of Jazz music. But Enzo and his fellas just couldn't stay on track and put in the best that the alternative Palermo area could offer in that historical period, like the sisters Cinzia and Loredana Spata, who brought the production to a next level in the vocal version of All Blues or in Chic Corea's Spain. But what really struck us was Charles Cables' version of "Quite Fire" (here missspelled as "Quite Fair"), released a few months earlier only in Japan and which would only become famous in the 90s with the Acid Jazz movement, and this tells us a lot about how hungry Enzo and Riccardo were of musical knowle, to be able to find some pearls in a city with basically no record shops and isolated...well...it's on an island! For this re-press we enlisted Tony Higgins, who recently finished a very long commitment and greenlight to delight us with his polished English...Welcome back Tony!

Black Vinyl / 350 mcn double white coated paper / Poster sleeve / PVC outers / Original artwork / Exclusive 30x30 cm insert with Q&A by Tony Higgins with Ole Matthiessen printed on on 250 gram Gardamat coated paper. Archive picture from original recording session printed on 350 gram Gardamat paper. Archive pictures printed on 375 gram Vintage Bindakote Monolucido. All papers are acid free an printed with food based inks.

Personnel: 

Jesper Nehammer - tenor saxophone
Ole Mathiessen – piano
Jon Finsen – drums
Henrik Hove - bass

Notes:
Danish jazz band founded in 1969. Band line up: Henrik Hove on bass, Ole Mathiessen on piano, Jesper Nehammer (later Thors Hammer, Alrune Rod and Entrance) on tenorsax, and Jon Finsen on drums. Played for a while every Monday in the famous Jazzhouse Montmatre in Copenhagen.
Tordenskjolds Soldater only made this record (1970).
The small record label Spectator Records was founded in 1969 by Jørgen Bornefeldt a former journalist from Danmarks Radio in coorporation with the jazz musician Carsten Meinert. Meinert recorded two albums on the label. He only joined the company in the beginning. Cindarellaistudiet The studio was destroyed august 6th 1972 by a major fire. And that was the end of Spectator Records. From 1969 to the end, the label recorded at least 23 lp albums and 9-11 singles/EP's. The picture shows Henning Kragh Pedersen from Cinderella in Spectators studio. The great Danish rock band Gasolin recorded their first single – Silky Sally - on Spectator Records. It was no success and sold only 155 copies. Silky Sally is now one of the most sought after Gasolin singles among collectors and is of course very expensive.
The music from Spectator Records is mostly jazz, progressive rock and hippie free style. But they also made strange records for children, education etc. Most records were issued in very small numbers (300-500). Some of the best progressive rock in Northern Europe was recorded here.
Quality of vinyl was often poor - even new looking records can have audible problems. Covers and labels are primitive and cheap. On the other hand the creativity could be outstanding - check the Furekaaben cover gallery or the artwork of William Skotte Olsen from Green Grass. Several record from the labels are cult today. A perfect copy of certain records costs a fortune.
Master tapes was never found after the fire in 1972. Unofficial reissues and bootlegs are therefore made on the base of the original records. Recordings that never made it to the vinyl got lost in the fire. Both Cinderella and The Copenhagen based band, Lines lyst, had material readdy for lp's which was never recorded. (Tony Higgins)

Black vinyl / 505mcn paper / Insert with extensive liner notes by Tony Higgins printed on 200 gram "Shiro Eco"paper and a special Manifesto with exclusive pictures printed on 90 gram Favini recycled paper.

Personnel:
Clarence Peter - Drum
Patrick Gauthier - Piano
Jean-Jacques Avenel - Bass
Steve Potts - Sax

Notes:
We're delighted to announce the reissue one the most sought-after European private press spiritual jazz albums: The Magnetic Atmospher by Clarence Peters Quartet. Never reissued in its entirety before, The Magnetic Atmosphere is a solid album of deep, post modal spiritual jazz that will appeal to fans of the Strata East, Tribe, and Black Jazz labels.
Resident in France since the 1970s, drummer Peter recorded the album with a French rhythm section: Patrick Gauthier on piano, and Jean-Jacques Avenel on bass. On sax is American-born Steve Potts, resident in France since 1970 and, like bassist Jean-Jacques Avenel, alumni of Steve Lacy.
The Magnetic Atmospher features four killer tracks, all composed by Peter. This is an opportunity to hear a truly remarkable record and sells for hundreds of dollars on the collector circuit. Long thought to be missing in action, we tracked Clarence Peter down and secured the license, direct from the man himself. (Tony Higgins)

Franco Rosso’s epic cinematic opus of reggae social commentary, Babylon, landed in November of 1980. Moving through the film’s opening frames of grey dreary London, two spars – Blue and Ronnie – run with unrestrained anticipation to link with their Ital Lion Sound System brethren. Simultaneously the rest of the crew does what sound crews have done from time: Load them boxes up in the van and trod with vigor to the dance.

But that bassline…The soundtrack notes that carry the celluloid movements of the film’s opening scenes…That bassline…Upside down…Jazzy…Dubby…A bassline like no other reggae bassline the Ital Counselor has ever heard. The hook that got me deep into UK roots music from the band that is my number one inspiration.

If there is bassline that represents the core imperative of Ital Counselor Records, it would have to be Aswad’s Hey Jah Children. It seemed therefore only fitting to bring its absolutely resplendent glory to a new generation. Lovers of sounds and blues, it is time for the dread ital lion sound to once again rise to meet the day. So it is with the deepest of gratitude and respect to the legacy of Aswad (RIP Drummie Zeb) and Franco Rosso, that we present a deeper than deep next cut…Christened here…the Ital Lion Serenade.

In line with all IC releases, we have enlisted top tier session musicians and studio men. Long time IC collaborator, Inyaki BDF, is at the center of the action as the musical maestro. Hopping on the BDF sonic lorry are Aratz Diez on Trombone and James Zugasti on the dub mixes. This crew bring the original composition up-to-date with a heady dubwise weight. Syndrums ricochet while Inyaki’s bassline rumbles teetering as it does somewhere between a modern dubstep warble and its core roots-wise influence in Tony Gad’s original playing.

Diez’s trombone playing comes across like an x-ray of the Aswad Horn Section and keeps intact the jazzy abstraction of the original. In turn, Inyaki goes full 70s synth on the psychedelic dubwise of the B-side’s Operation Swamp 81. UK history buffs better you know the reference in that title and its thematic echoing significance from the UK depicted in Rosso’s film and carried on in remembrance on this here hotter than hot 12”.

A warning: the Zugasti dub cuts are devasting to speaker boxes.

Artist Leon Ivey Jr., better known as Coolio, was one of the most influential rappers of the 90s. With his slick flow, witty wordplay, and ability to tell stories in his music, he is often credited for changing the course of hip hop by bringing it to a wider audience. Arguably his best-known track, the 11 x platinum single "Gangsta's Paradise" reached No. 1 in 14 countries and won the Grammy Award for Best Rap Solo Performance. In addition to "Gangsta's Paradise," this 10-track greatest hits collection also includes the hip hop classics "Fantastic Voyage," "C U When U Get There," and "Rollin' with My Homies" from the Clueless soundtrack.







g 1, 2, 3, 4 (Sumpin' New) [Timber Mix]


[j] C U When U Get There (feat. 40 Thevz) [Bill & Humberto's Orchestra Mix]

Tricatel is releasing on gatefold vinyl a selection of tracks composed by Bertrand Burgalat for Ça, c'est Paris! the series directed by Marc Fitoussi, starring Alex Lutz, Nicolas Maury and Monica Bellucci.

Marc Fitoussi - extract from the sleeve notes
After collaborating on my film "Les Apparences", I knew he'd be the ideal man for this series. Someone who could make real revue music, like you'd hear at the Paradis Latin or the Alcazar, and who could also be resolutely contemporary, like when the troupe relaxes and dances in a bar to a hit of the moment.

Stéphane Lerouge - extract from the sleeve notes
It's a genre that dates back to the thirties, that of the backstage musical, a genre with well-defined codes: the struggle of a collective, a troupe of singers and dancers, to put on a show that, despite a tsunami of obstacles, will end in triumph and reveal a new star. A broad spectrum of films can be linked to this, from "Quarante-deuxième rue" to "Tous en scène", from "Chorus line" to "Trois places pour le vingt-six". And today, the original link in this long chain is the series "Ça, c'est Paris!", in which Marc Fitoussi strips away this tradition, reenchanting it, making it crackle with new energy. In the end, his mission is almost the same as that of his main character, Gaspard Berthille (Alex Lutz), heir to a cabaret, the Tout-Paris, for whom he must invent a present, or rather, a future. To carry out this delicate task, Gaspard Berthille needed an accomplice, invisible on screen: Bertrand Burgalat. His freedom, the way he juggles harmony and tonality, shines through in every measure, as if Marc Fitoussi's subject had triggered something decisive and essential in him.

Released in 1971, Get Off in Chicago captures the essence of an energetic concert featuring Harvey Mandel and key figures from the Chicago blues scene. Alongside Mandel, known for his innovative guitar playing, are renowned musicians such as John Bishop and Gregory E. Stinson, who contribute their talents on guitar. The rhythm section, with Peter Milo on drums and Nick Tountas on bass, anchors the tracks in a powerful groove. The album shows blazing solos, bold improvisations, and a collaborative spirit that transcends genres. This unique blend of blues, rock, and jazz highlights the collective genius of these talented artists.

Back in the day, when he was the drummer for Poni Hoax, Vincent Taeger would sing in French whatever came to his mind backstage after concerts, just for fun, to amuse his friend the late Nicolas Ker. Since then, time has flown by, undoubtedly bringing its share of ups and downs. Nonetheless, today, this artist with a long career is finally releasing his debut album as a singer, OK Crooner. It's indeed an album for a singer, but also one for a musician. For this part, Taeger doesn't come alone; he brings along the Jazz Kamasutra, a sexy sextet that knows how to play everything and will later accompany him on stage. To get to this point, Vincent Taeger had to stop playing around with big names like Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangaré, Jeff Mills, Archie Shepp, Sampa the Great, Andrea Laszlo de Simone... More than half of the major artists with whom he once collaborated, contributing to their albums or simply laying down a drum, bass, or any other heavy instrument line. Before OK Crooner, he also transformed into Tiger Tigre. This roaring alias was used for a first solo album, instrumental and so deep that one might have thought the ghost of François de Roubaix had taken shape. But that was before, before this exceptional musician decided to dive into the vast ocean of French variety to give a sequel, a culmination to this project. During COVID, Vincent Taeger started frantically listening to Souchon, Chamfort, Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. And the worst part is that he enjoyed it! Coming from rap, he has a knack for punchlines. Throughout the album, he delivers just as many harsh or soft words as good ones, alternating between risqué humor, Gaulish wit, and poetry. Partially recorded at Studio Ferber, but mainly at home with his partner, known by the alias La Plongée, who co-produced the album for the occasion, OK Crooner is a key album in Vincent Taeger's discography. Besides being the one where he finally unveils his voice to the public, without pretense as it is prominently featured and minimally, if at all, retouched, Taeger also offers music that suits him perfectly. Sharp yet accessible, jazz, pop, baroque, classical, modern, and resolutely marked by Tony Allen's legacy, which he daringly mixes with Beethoven in the Fifth Symphony. His alter ego, Vincent Taurelle, with whom he has produced many albums, took care of mixing this one.

Poet, novelist, musician and academic, Anthony Joseph teams up with legendary UK producer Dave Okumu for forthcoming album, ‘Rowing Up River To Get Our Names Back’

Dave Okumu, known perhaps best as frontman for The Invisible, though digging deeper into his production credits, huge names emerge such as; Grace Jones, Amy Winehouse, Jesse Ware, Rosie Lowe and Eska. On this album, the magic and alchemy of Dave’s production style showcase subtle sonics and deep layering resulting in a contemporary sound to carry Anthony’s afrofuturistic metrical meanings.

Anthony and Dave first came across each other when working with Shabaka Hutchings during Covid broadcasts, and then after Anthony performed some poems on Dave’s 2023 album ‘I Came From Love’, the seeds of collaboration were sown.

With a little more psychedelia, a little more experimentation, Dave’s eclectic vision focuses on the actual sounds on these pieces. Anthony stated that “The best producers guide you, not push you” now add to that the fact that both these humans were born on the same day, a concoction of laid back attitudes in people with strong purpose, some real magic can happen, naturally.

Early writing sessions for this record took place in 2022, around Mount Blanc in France. Anthony was away touring with long-time collaborator, Jason Yarde. Ideas were a little thin and they found themselves somewhat repeating previous work resulting in Anthony rethinking things a little, and so entered Dave Okumu.

LP opener ‘Satellite’ is a fine example of how this new partnership pans out. New musicians have been enlisted; Dan See (Drums), Aviram Barath (Synths), Nick Ramm on Fender Rhodes and Byron Wallen (Trumpet). Add to that the mighty vocal power house of Eska and we have a whole new dimension of soul and depth, to carry Anthony’s statements. “You build a wall, we go under, you build it higher, we go higher, like a satellite” .

On the album's second single, ‘Tony’ - there’s a nod to all drummers and creators of African rhythms, from the point of view of Afrobeat legend Tony Allen. Highlighting this is drummer’s drummer Richard Spaven as Dave’s choice of skin beater. He successfully reminds us that Tony was someone who understood the real power of rhythm and how it is used to unite people.

As well as the new musicians on this LP, Dave Okumu played all the guitars and used the studio as his tool. On ‘A Juba for Janet’ - a poem to Joseph’s mother, and a track so bass heavy that it feels as though it could sit in a deep dubstep set in Plastic People days, - Anthony’s voice reaches straight down your ear canals next to dark drums, huge synths and delayed saxophone stabs from Colin Webster. Slightly more introspective verses on ‘An Afrofuturist Poem’ see Dave’s beats show off the real future sound of this record, kalimba, moog bass and guitars all played by the man himself.

Mellower and deeper moments are also present, Anthony’s cryptic yet informative storytelling is at its absolute best on ‘Churches Of Sound (The Benetiz-Rojo)’ - Caribbean and Windrush history reeled off alongside a linear musical timeline of Black music in the diaspora.

A reminder that this body of work is first of 2 volumes, ‘Rowing Up River To Get Our Names Back’ is not a follow up to Anthony’s previous album, but more a development of his 2006 novel, ‘The African Origins of UFOs’ a book where experimental elements of afro-futurism, metafiction, science fiction, surrealism, mythology are rewritten in Anthony’s innovative language. Look out for Volume 2 also coming in 2025.

Anthony Joseph releases, ‘Rowing Up River To Get Our Names Back’ (Vol. 1) via Heavenly Sweetness 7th February 2025 and he will play live at Ronnie Scotts in London on 14th March 2025, with Dave Okumu as a special guest.

CREDITS:

Vocals - Anthony Joseph

Additional vocals, vocal arrangements - Eska Mtungwazi

Producer - Guitars, Bass, Moog, Synthesisers, Programming, Percussion - Dave Okumu

Drums - Dan See

Drums on ‘Tony’ - Richard Spaven

Synthesiser - Aviram Barath

Fender Rhodes, Synthesisers, Nick Ramm

Trumpet - Byron Wallen

Saxophones - Colin Webster

Trombones - James Wade Sired

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

One of the most popular and notorious of all British hardcore acts, the Exploited were formed on a dire Edinburgh council estate in 1978 by singer Terry Buchan and guitarist Stevie Ross, although Buchan’s brother Wattie would soon become leader and the lineup seldom stayed stable. Influenced by the Pistols, they built their large working class and skinhead following through an aggressive, fast-paced, and uncensored hardcore style. Gathering singles from their street punk days and the best tracks from their first three albums, Totally Exploited was the band’s first compilation and it remains the best by far. Essential Exploited!

Brother II is an incredible synth boogie band from the early 80's made up of brothers J. and M. Soso. The title You was born is a true masterpiece of the original boogie funk sound of the 80s when synths dominated the sound of the music scene. The excellence and flow of the bass line that moves all the atoms in the hips paired with the present and dominant synth electronic atmosphere makes this title as one of the first three letters of the boogie alphabet. So fans of the original synth boogie genre, don't waste time and order this forgotten boogie gem right away.

The 2003 debut album and a collection of early rarities from the genuine treasure of the UK underground. Remastered and available on vinyl for the first time in over two decades. “Legendary angular rock…Edgar Allen Poe meets The Fall” (The Guardian 2003) “Jarvis Cocker fronting Fugazi” (Melody Maker 1994) Joeyfat, from Tunbridge Wells in Kent, are the daddy of all the Sprechgesang bands out there. We searched on Wikipedia; they're not even mentioned. Maybe not such a bad thing. There are young scamps climbing up festival line-ups all over the world with more than a passing sonic and aesthetic resemblance. Influence can be picked up in diluted ways, maybe the true source of the river has been forgotten. Foals heard the source, they were there. So were Everything Everything. Ask them. Black Midi heard it third hand. Life Without Buildings heard it. So did Yard Act. You can see the pattern. From the early '90s Joeyfat, led by Matt Cole and Jason Dormon, have been perfecting and re-perfecting the sound. They toured with Green Day in 1994. They released music on the Fierce Panda label. They recorded BBC Sessions for John Peel and Marc Riley and released four albums and countless singles. They flirted with being known and they didn't like what they saw so they kept it local, building a community by setting up the Tunbridge Wells Forum, one of the great UK small venues. Debut album The House Of The Fat is a masterpiece, the musical precision recalls The Sound or B52s. The spot-on attack of the vocal and lyrics makes us think of Fugazi or Zounds. The Unwilling Astronaut compiles early singles and compilation tracks. Going all the way back to 1993 it shows how close to a DC-inspired hardcore band they were, it's a thrilling listen. Joeyfat shouldn’t need a re-introduction but they’re going to get one. The source of the river. The top of the family tree. This is where the resemblance comes from

New Omar S alert! The FXHE label boss wastes no time in dropping heat this New Year as he once again hooks up with vocalist Desire for this latest house gem. Up first is 'Something Real', in the classic Omar S mould of laying down a deep, heartfelt drum line and then topping it with a mad emotive vocal hook that is filled with r&b goodness and joined by the most subtle cosmic chord motifs. 'Hard Leaf Rag' follows next, so raw it will make your ears tickle with its busted drums and serrated stabs. Then flip it over for 'Conant Leaf Rag', which pairs warbling synth sounds with dusty hi-hats and tight kicks for a nice, full mind and body workout.

Erstmals auf Vinyl! Das 2009er Album 'Controlling Crowds (IV)'.

Cold Blow proudly presents Bonus Beats: Rare & Unreleased Finnish Electro 1990–2002, a landmark compilation capturing Finland's underground electro scene from the late 1990s and early 2000s. This double-LP features 9 rare and 3 previously unreleased tracks from pioneering Finnish artists, showcasing a distinctly Nordic approach to the genre. With contributions from notable names such as Jori Hulkkonen, Mr. Velcro Fastener, Mono Junk, and the late Mika Vainio, this release highlights the experimental and DIY ethos that defined Finland's electronic music scene during this period.

Carefully curated by Erkko Lehtinen, a key figure in Finland's electro scene as a DJ and promoter, the compilation explores a broad sonic palette, spanning early techno influences, robotic allure, and dark, bass-heavy tracks. Standout contributions include Decepticons and Dr. Robotnik's unreleased dark electro cuts, with the latter veering into minimal wave territory. Feng Shui feat. Monsieur delivers a striking collaboration that fuses a trance-like lead with raw, industrial beats, uniting members of Huoratron, Nu Science, Polytron, and Op:l Bastards. Keeping alive the legacy of Perttu Häkkinen (aka Randy Barracuda), this release wouldn't be complete without Imatran Voima's bass-driven anthem from their debut EP. Also featured are Spektor's retro synth experiments, Tero's Commodore 64-based creations, Brothomstates' (later a Warp signee) futuristic soundscapes, and a rare cover of Kraftwerk's The Model by the anonymous duo Markus & Kristian. Erkko's extensive liner notes provide additional insight into this culturally and musically significant era. Available in double-LP, this collection is a must-have for electronic music aficionados and vinyl collectors.










j 10: Feng Shui - Hao Hao (I`m Back) feat. Monsieur

"Langt Fra Jorden" ("Lejos De La Tierra", in Spanish, for the book) is the result of the dialogue between the Spanish photographer and artist Irene Zottola and the Danish musician and artist øjeRum initiated by IIKKI, between June 2024 and November 2024.

øjeRum is Copenhagen based musician and collage artist Paw Grabowski. In his øjeRum guise, he plucks and strums his treated acoustic instruments, sounding at times like church bells, at times like angelic harp, at time like drones, and suspends the listener in the magic of his melodies.
With a deep back-catalogue of releases since 2014 - spanning labels such as eilean rec., Room40, Line, Opal Tapes and many more - he continues exploring his minimal, textural and deeply personal style of ambient music.

Irene Zottola is a Spanish photographer and artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text.
She has been self-taught in Madrid in the laboratory of the Slow Photo collective since 2016. In 2017 she is a finalist in the Rfotofolio Grant.
Her work has been exhibited in Spain, Italy and Morocco. She has published with editorials such as La Bella Varsovia and Lumen (Spain) and magazines such as She shoots film (Australia), Fisheyemagazine (France) and Vostmagazine (Korea).
In 2021 she received one of the Grants to Creation granted by VEGAP with which she began a new project in Paris and was part of the artistic residence ART(e)gileak of the BBK with a participatory photography project. She is one of the 33 authors of the Mission Region project organized by the Community of Madrid and is part of the platform of the National Image Centre in Spain. Winner in 2020 of the V Edition of the Photochannel Contest, she has published with Ediciones Anómalas her first photobook, "Icarus", which has been a finalist in PhotoEspaña and in Les Photobook Awards of Les Rencontres d'Arles 2022.
"Lejos De La Tierra’’ is her second book.

Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Print Cream 115g/m2 // 80 pages, 17cm x 23cm, 42 photos // Logo and slot embossed // Hot gold stamping // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.

We are glad to introduce you to our new full length album, sound designed and arranged by Spanish duo Crime as Service. Their musical output has always been solid and consistent, always offering diverse visions on techno sound.

For this particular work they have explored the deepest side of their sound palette, starting with the beatless intro Unlocked, made of subtle drones and field recordings.

Next track is Altered Circuits, a bass heavy groove on the first bars soon followed by mechanical components colliding with atmospheres and micro drone. A combination of pressure and deepness.

Shadow Crew follows with a continuous sequence over a shuffled beat, the usual textures appear on top of the main synth line spicing the mood, until bleeps and asymmetrical components complete the equation.

Zombie Botnet changes the mood drastically, adrenaline goes up and new sonic components add hypnosis to the overall feel as the track goes by.

Second slice of plastic opens with Lazarus Group, intense and dark with super effected synth lines running through the stereo field wisely.

Darknet Operation, as the title suggests, is opaque and gray but also liquid with water samples appearing randomly along the arrangement. The groove behind is relentless and effective, one more time mixing intensity with mindfulness.

Unknown Exploits shares similar feelings as the previous one, a combination of tension and sonic details.

Closing the release, Deconstructed Blockchain, aimed directly for the dancefloor with a psychedelic approach on the main sound, constantly mutating and evolving as the minutes go.

A solid collection of well-crafted techno tunes, aside from tendencies and hype, made to last.

2024 was a big year for Regulate Recordings and their sister club night “Shake Your Rump”. DJ Deviant’s “The Rhythm” & “Make Em Bounce” burned up dance floors in spring, “Summer Jam” saw Atomphunk & Deviant team up with Seattle MCs Mugs and Pockets to devastating effect. “Summer Jam” lit up the second half of the year with support from the Allergies, Boca45 and 6 Music and was included in Craig Charles’s “Funkiest Tracks of 2024”.

Regulate move into the new year by setting off two certified bangers. Master of the decks DJ Deviant is back on production duties; lead track “Get On The Floor” sees him once again collaborating with Swamburger (Mugs and Pockets) for a full force party starter. The production pulls influences from the earliest days when hip hop and disco were joined at the hip, with nods to The Sugar Hill Gang and The Furious Five, as well as the Golden Age and artists like Chubb Rock and Big Daddy Kane. Swamburger’s machine gun delivery and Deviant’s sharp cuts pull the track right into 2025 for maximum impact.

Flip side “Where’s The Party Clap” is a big trunk of cut and paste funk with a popping bass line, horns, claps, cuts and a groove that just doesn’t quit.

LINEAR LABS: Sao Paulo läutet eine neue goldene Ära musikalischer Genialität ein, die durch den Maestro Adrian Younge definiert wird. Eine außergewöhnliche psychedelische und gefühlvolle Erfahrung bietet "Adrian Younge presents Linear Labs: Sao Paulo", eine Zusammenstellung von neuen Songs, die die musikalische Brillanz von Adrian Younge mit Künstlern aus der ganzen Welt präsentiert. Im Wesentlichen enthält das Album jeweils einen unveröffentlichten Song aus einer Reihe von bevorstehenden Alben, die Younge für Linear Labs produziert hat, darunter "Something About April Ill", der dritte Teil von Younge's Meisterwerk-Trilogie, und ein neues Blaxploitation-Abenteuer von Hip-Hop-Legende Snoop Dogg, mit dem Titel "Don't Cry For the Devil".

Pink Vinyl. Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be "the most useful thing to do with pain and joy and thoughts and feelings and anger." That through music we can find great change. "I'm so much better off now that it exists,"she says. "Now feels like a new time." On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: `Brightness entered the study.' "It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It's the idea of life beginning now."

Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be “the most useful thing to do with pain and joy and thoughts and feelings and anger.” That through music we can find great change. “I’m so much better off now that it exists,” she says. “Now feels like a new time.” On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: ‘Brightness entered the study.’ “It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It’s the idea of life beginning now.” "Nadia embraces a full-bodied sound halfway between Haim’s sophisticated pop sparkle and Sharon Van Etten’s full-throated songcraft" - The Guardian

Adrian Younge presents: Something About April flaunts all of the trademarks that have made Adrian Younge an in-demand name as a composer and sample source-point. His work oozes raw, analogue soul and the primal sonic edge of psychedelic rock, sitting nicely alongside Ennio Morricone's best soundtrack work or Pink Floyd's early catalogue. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.

Next in line, a crafty remixes pack of Ethereal Logic's second album "Intergalactic World Music". The A side has two uptempo tracks by S.Moreira (1/2 of Ethereal Logic) and the italian wizard Paolo Mosca, delivering versions that perfectly capture their club essence.

On the B side, more downtempo yet groovy approaches by another extended

Drink Ring Jesus, the second album from Nashville based singer-songwriter Simmons was originally released in 2006 during a period of vast political and social change in America. Post 9/11 the age-old battle between good and evil, God versus Satan if you want to get personal, once again eased into view agitating hearts and minds. Like all songwriters with just their art to carve themselves a foothold in a world becoming less identifiable, Simmons produced an album that is both intimate and deeply inquisitive yet, like all the great folk records, its universal themes of hope, redemption, pain and despair will resonate with all who hear it.

Nearly twenty years on from its initial release Drink Ring Jesus feels as relevant now as it did then. From the opening lines of the title track Simmons is clearly caught in a time of intense personal reflection. It’s not an unusual pathway to tread for songwriters and artists alike, indeed many have fell by its wayside over the years, yet here our narrator is both looking for a way through and calling on something deeper than just instinct for guidance. We are right on the frontline, characters battling on the very precipice of sanctuary or sacrifice on the likes Time To Pay and Devil’s Work Is Never Done, before literally scavenging a ticket to Hope Station on the evocative Next Stop Redemption. There isn’t a moment where you feel Simmons is taking the easy way out or shying from titanic confrontation. Anything but. It’s in the no-mans land where these songs impact the most, at the very alchemy where despair turns to optimism or defeat.

Veyl is pleased to welcome Harlem back to the label with a new 8 track LP titled Cage. The Stockholm-based duo of Martin Thomasson and Johan Skugge last appeared on the imprint with 2021’s, Bait, and the project now returns diving deeper in to their infectious cocktail of menacing electronics.

Bringing with them a vast body of work, ranging from dub to minimal techno, with Harlem the pair fuse electro, no wave, post-punk, disco, proto-body, dub, hip-hop, and grime, creating a unique sound that cannot be categorized. Cage opens with “Shut Your Body”, a muscular piece which drills into the surface, setting the stage for what’s to come. Next up is “Fantasy Scan” a dance floor ready jam that picks up the pace and lures us into the pleasure dome. “Blow by Blow” brings a nihilistic energy to a fictional scenario that takes its cues from the past while remaining firmly in the now.

“Kiss The Steel” continues on the slow burning path, dropping us into a dream like state, blurring the lines of reality and plunging us into a surrealist nightmare or reverie? “Dummy Up” comes roaring back, injecting a dose of electro and body that sounds like a soundtrack to your favorite cult gathering. With “Sleuth”, we hear the repetitive grind of a man at work, searching for the unknown, unlocking new mysteries along the way. As we head toward the finale, “Contact High” brings back a seductive dance, ready to movie bodies and stir emotions. Closing things out is “Wiggle Walker”, returning us to a drifter’s journey, a wanderer’s melody that carries us to the end, or is it just the beginning?

Taylor Freels aka Liquid Earth, brings his uniquely transatlantic techy-wiggles to Secretsundaze’s new imprint for 9FINITY002.

Following the globally supported 9FINITY001, Freels dishes up a naughty cocktail of signature sounds on ‘Adventures Of Handy Boy EP’. Driving house cuts laced with wandering acid lines, through to percussive, techy grooves and quirky vocal snippets – synonymous with the sounds we all know and love as Liquid Earth.

Another sure fire heater from the newly minted 9FINITY camp.

Imaginary friends Akka & BeepBeep share the third release on their label: Floral Ancestors by Raduns. The 12” offers blooming ambient rooted in dub, lush drone and hand-picked cosmic that’s all grown deep in Detroit.

Spacious sonic arrangements vividly swell yet keep grounded within a sculptural rhythmic core. Raduns sows synth basslines and wispy pads next to harmonious guitars and muted field recordings. Grooving propulsion drives throughout. Rhythms appear, in negative space, like outlines between leaves. Recorded with machines direct to SD card, the compositions represent ephemeral blessings of experience. As if strolling into a verdant conservatory, the layered and diverse sensations blend into one cohesive revelatory experience.

On their first record, Raduns draws an ancestral line in Detroit as inspiration. A time when you could ride a streetcar from Dexter-Linwood to Belle Isle. A time before freeway expansion demolished vibrant Black neighborhoods. A time before the rebellion, motown and white flight. A time when Raduns’ great-grandparents were florists in the city, serving the community in times of celebration and times of grief. This melancholic circle shapes the project in which Raduns summons these Floral Ancestors, stretching upward from the darkness of the earth into the light of the world back down once more.

AKKA’s Side: “Grass Boulevard” exhales a luscious soundscape that develops through wave-crashing synths and circulated guitars to a transplanted acid lead. “Spread” lays out a decoration of blended sample and hold synth with kosmische styled guitar licks. Tracked as a single take in a Detroit community studio, the tune intuitively reseeds the symbiotic sprout between krautrock and Detroit techno.

BEEP’s Side: “Metrograde Bouquet” submerges you into the bulb of a handcrafted vase. Dub techno roots grow out into murky water with energy that is subtle yet profound. “Oldest of Arrangements” textures breaths of misty air cascading ventilating in on itself. The track’s time seems to stretch and disappear within a dark and deep undercurrent. A harmonic and reverberant resonance closes the record in a flowering of beauty and peace.

“You’re a flower child. Put this music out.” - Someone Important in Detroit

Swedish veterans Gin Lady are back with another brilliant 70's infused classic rock/progressive album. It's their first for Ripple Music who are stoked beyond words in welcoming the band to the family!

Latest recordings by Cluster Lizard – an interdisciplinary mixed media project by two Ukrainian artists Dmytro Fedorenko and Kateryna Zavoloka, based in Berlin.

In previous centuries, Ukrainian warriors invented an audacious macabre ritual called Herts, a courageous death dance. Before the battle, a few ruthless Cossacks would leave their ranks to perform a mocking dance right in front of their enemy lines, laughing and shouting insulting indecencies at them. Herts, a mixture of laughter and death, was a psychic attack to crumble and degrade the enemy soldiers' morale.

Like so many bands that cut their teeth playing basements, rental halls, and teen centers around the Puget Sound in the early '90s, the Olympia trio Lync may have had similar roots to the local rock heroes of the era but were conscientiously averse to the trappings of mainstream success. Lync kept the grit, the shouted vocals, and the rough-hewn choruses, but eschewed the machismo and metal swagger. Their song 'Cue Cards' is a perfect encapsulation of their overall approach-heartfelt melodies, bashed drums, hoarse throats, gritty bass lines, and fractured guitars. Lync's legacy was interwoven with fellow PNW artists like Modest Mouse, 764-Hero, and Red Stars Theory-bands that were crucial to the foundation of Suicide Squeeze Records. It only made sense for Suicide Squeeze to reissue Lync's lone LP, These Are Not Fall Colors back in 2023. And in conjunction with the reissue, Suicide Squeeze is proud to announce the second single featuring a choice cut from Fall Colors paired with a current artist's reinterpretation of the song. On their latest 7", Lync's original version of 'Cue Cards' is paired with a cover by Julia & The Squeezettes-a Suicide Squeeze-centric all-star line-up featuring Julia Kugel of The Coathangers and Julia, Julia, Staz Lindes of The Paranoyds, Bonnie Bloomgarden and Rikki Styxx of Death Valley Girls. On their rendition, Julia & The Squeezettes excise the half-time distorted bombast of the original in favor of up-tempo minimalist pop. Guitars are reduced to a few choice phrases, putting the song's luring vocals and lyrical charms at the forefront. Paired with the tasteful yet propulsive rhythm section, this new approach to 'Cue Cards' demonstrates the timeless songwriting of Lync while simultaneously showcasing the creative vision, timbral aptitude, and resourceful production savvy of four contemporary artists in the ongoing lineage of American indie rock. Suicide Squeeze is proud to release these two versions of 'Cue Cards' to the world on a pressing of 500 Ocean Blue-colored vinyl 7" singles.

Come Dance With Me! by Frank Sinatra, released 7 February 2025.

This version of Come Dance With Me! comes as a 1xLP. This release comes with (a) Liner Notes.

The Bridge by Sonny Rollins, released 7 February 2025.

This version of The Bridge comes as a 1xLP. This release comes with (a) Liner Notes.

Mr Bongo is proud to present an official reissue of Zé Rodrix E A Agência De Mágicos ‘O Esquadrão Da Morte’. Written, arranged and composed by the genius of Zé Rodrix and performed by his band 'Agência de Mágicos’, this Brazilian library funk beauty is the soundtrack to Carlos Imperial's 1975 film of the same title. Echoing European soundtrack maestros such as Roy Budd and Ennio Morricone, but with a Brazilian swagger, Zé Rodrix's score is a sublime gem that needs rediscovery.

Rich in 70's soundtrack cool, the score is packed with orchestrated jazz, chase scene-funk, breaks, psychedelic freakouts and plenty of drama. The loose and quirky break-beat jazz-funk of 'Assalto' feels almost tailor-made for today's hip-hop production aesthetic. The opening drum break of 'Esconderijo' is a sampler’s dream and has already been reinterpreted by the Turkish Rapper Anıl Piyancı, as well as Brazil's DJ Caique.

Carlos Imperial was a jack of all trades. As a songwriter and music producer, he created a highly impressive back catalogue. It includes working with or writing songs for Tim Maia, Elza Soares, Brigitte Bardot, and Wilson Simonal. He also co-wrote the rare cult Brazilian 7" compacto 'Lindo Sonho Delirante (L. S. D') by Fábio. Carlos Imperial wrote liner notes and was an actor, filmmaker, television presenter, and media figure. His film 'O Esquadrão da Morte' is a violent heist movie starring Beto Bandeira, Claire Chevalier, and Baby Conceicao; in the vein of exploitation films and gritty, raw B-Movie cinema of the day. Both the film and album share striking, macabre artwork by artist Benicio.

The instrumentalist, arranger, and singer-songwriter Zé Rodrix has a musical achievements list that is also one to admire. He’s worked with the cream of Brazilian music, having written songs covered by the greats, including Quarteto Em Cy, Ronald Mesquita, Elis Regina, Karma, and Célia, to name just a few. His written arrangements have graced the music of Luli Lucinha E O Bando and Helio Matheus. He was a member of the iconic group Som Imaginário and played piano and synthesizer on Secos & Molhado's classic 1973 album.

We are super pleased to make this dusty treasure available again. It is a wonderful soundtrack score that more than holds its own with its European and American counterparts of the era.

QLine ...the railway to the underground... via Detroit

DRIVETRAIN/“Belle”
An dish of sliced vocal drops melted over smoldering rhythm.

DJ CENT/“Hold Out”
The uplifting and spirited melody of praiseworthy beats.

J.GARCIA/”Reflekt”
A tranquilizing vaccine of mesmerizing electronic flow.

BLAKTONY/“Eastern Market (shed 3)”
The one-stop shop for a militant, deep ambient groove.

QLine features an all Detroit artist lineup.