Cerca:marc roberts

Who wouldn’t want to be soaking up the rays, Bali beachside right now, sippin’ on something strong, letting the music wash over you from the club behind? Well, following on from Austin Ato’s smasher for the label’s first release, Pantai People strap you in once again with a first-class ticket to that exotic, slice of summer we are all pining for, serving up four delectable edits from Marc Roberts.

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

Zuul supplies pressure control’s debut release, Routine Machine.

Following releases on Exarde and White Scar, the Laik label-head’s signature sound takes a menacing turn. In a departure from his usual output he delivers a grizzly 5 tracker filled with EBM, New Beat and Wave affined floor-fillers; all fraught with tension, straight out of the Kirkstall strip.

Fitting for peak-time, warm-ups and rub-downs, the EP is filled with snarling, left-of-centre bombs. All reminiscent of the golden-era sound forged in Frankfurt and Ghent circa 88-91, with new-school stylings for the modern day working disk-jockey.

Constructed exclusively for dark and discerning dance floors.

You can run, but you can’t hide.

Credits:
All music by Ollie Burgess
Pressing and distribution by by One Eye Witness
Design by Al Robertson
Mastering by Marco Pellegrino
Words by Josh Bayat

As we saw with their debut release "Breukelen Story", Masta Ace & Marco Polo once again drop a deluxe edition of their sophomore LP "Richmond Hill". This new version includes 4 bonus tracks not previously available on the album—three remixes (one featuring Talib Kweli) and one brand new song from Ace & Marco.

"Richmond Hill", the highly anticipated follow up to Masta Ace and Marco Polo's "Breukelen Story", is inspired by Marco's childhood in the titular neighborhood, a small town in Ontario, just outside of Toronto. Between interstitials about Marco's passion for hip-hop and cartoons, his struggle with addiction, and the support of his parents, Marco Polo and Masta Ace tackle the issues of the day head-on with clarity, the rapper using his decades-worth of rapping experience to slice through the producer's warm soul samples and crisp percussion. A cinematic journey that explores how the past echoes through the present, the album welcomes guest appearances from notable names from all eras of rap history, including Inspectah Deck, Coast Contra, Blu, Che Noir, Speech of Arrested Development, Masta Ace's longtime collaborators Stricklin and Wordsworth, and many more.



















s Below The Clouds [Remix] (feat. Talib Kweli)

[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)



















[s] Below The Clouds [Remix] (feat. Talib Kweli)

[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)

'It begins with a shoebox of mysterious provenance, full of recordings from the Vendée department on France’s western seaboard: songs of love and war, life and death, played out on land and sea. Songs passed down and sung by ordinary men and women, gracefully delivered with the poetic economy which unites the folk song of all peoples.

Next it takes a group of contemporary musicians to make selections from this treasure trove and sing these old songs anew; to sing them for their beauty, of course, and to reclaim the people’s tradition from those who would seek to exploit it for nefarious political ends. Who better for this task than Tartine de Clous, a singing trio from Vendée’s neighbouring department of Charente-Maritime, who burst into national and international consciousness with their debut album "Sans Folklore" in 2015? The result of their shoebox rummagings, the new album "Compter les dents", recorded in 2019 and finally seeing the light of day, is bound to delight old fans and win them many new ones.

Time makes many’s the alteration, and "Compter les dents" finds 'les garçons' - Geoffroy Dudouit, Thomas Georget and Guillaume Maupin - in a different state of being from their debut release. The trio, friends since youth, have certainly matured between albums, as one would expect; consequently the newer performances are more considered and poised, unfolding with a patient confidence. A relaxed domesticity prevails, something to do with the fact that the album was entirely recorded chez les amis, in contrast to the first album, which was mostly recorded at live performances in bars and night-spots across France.

Lending gravitas to the grain of their voices we mark a deepened richness, doubtless born of the various vicissitudes of daily existence which these gentlemen - and we too as citizens of this turmoiled globe - have weathered in the intervening years. Not too dissimilar, in fact,
from some of the vicissitudes detailed in those old Vendée songs. Plus 'ça change', right?

There’s a greater complexity and subtlety to their unique three-part harmonising, too. Their voices mesh in even stronger - almost telepathic - 'fraternité' than ever before: now commanding and mighty as a full-rigged counter-vessel, now gentle and lulling as a mother’s
cradle-croon, or as the whisper in a lover’s ear.

Three legendary figures of French traditional music, now sadly departed, preside as tutelary spirits over Compter les dents. They are: the late Claude Flagel, musician and ethnomusicologist; and the late Jean-Loup Baly of the well-known 1970s band Mélusine. Most of the album was recorded by Claude in the Brussels home he shared with his late wife Lou Flagel. The album is dedicated to the memory of Jean-Loup, Claude and Lou.

For the first time there are several guest instrumentalists working their magic to expand the Tartine de Clous sound. Jean-Loup plays a characterful accordéon on the song ‘La Veuve'. The other guests are: Maurice Artus (voice), Robert Thébaut (violin), Quentin Manfroy (piccolo, contrabassoon), Marceau Portron (cigar box guitar). Their contributions add even more conviviality to that which the trio of singers already share, a sensation which will doubtless be shared by those who happen to find a place in their lives for "Compter les dents".'

Liner notes by Alasdair Roberts.

Pushmaster Discs Sales Pack including:

PMD029 - Scenery - The Remixes Part 1 (printed sleeve)
PMD030 - Scenery - The Remixes Part 2 (printed sleeve)

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

"Another Perfect Day" celebrates its 40th anniversary in 2023 and is the sixth studio album by British rock band Motörhead. It was originally released on June 4, 1983 via Bronze Records and was the band's last full-length album on the label. It is the band's only studio album featuring lead guitarist Brian "Robbo" Robertson, who is best known for his work with Thin Lizzy. The album is now reissued as a luxurious deluxe edition on 2CD, 1LP (colored) as well as 3LP bookpack.

"Another Perfect Day" celebrates its 40th anniversary in 2023 and is the sixth studio album by British rock band Motörhead. It was originally released on June 4, 1983 via Bronze Records and was the band's last full-length album on the label. It is the band's only studio album featuring lead guitarist Brian "Robbo" Robertson, who is best known for his work with Thin Lizzy. The album is now reissued as a luxurious deluxe edition on 2CD, 1LP (colored) as well as 3LP bookpack.

„Eine blühende Solokarriere aufgebaut auf einfallsreicher Programmgestaltung und einem sondierenden Interpretationsstil“,
sagt die New York Times über Daniel Hope. Auf seinem neuen Album erkundet der Stargeiger die Diversität amerikanischer Musik in atemberaubenden neuen Bearbeitungen von Werken aus
Klassik und Jazz, die von George Gershwin, Aaron Copland, Leonard Bernstein, Kurt Weill, Florence Price, Duke Ellington, Sam Cooke und Samuel A. Ward stammen.

Begleitet wird Hope vom Zürcher Kammerorchester und von großartigen Gastmusiker*innen, u.a. Soul-Sängerin Joy Denalane und renommierten Jazzpianisten Marcus Roberts. Als künstlerischer Leiter des New Century Chamber Orchestra in San Francisco hat Hope einen engen Bezug zur amerikanischen Kulturlandschaft und dies wird nun auf seinem Album „America“ durch vielfältige und faszinierende Werke musikalisch erlebbar.

„In jüngster Zeit gibt es eine starke Bewegung mit dem Ziel, afro-amerikanische Komponisten wiederzubeleben und neu zu
entdecken, etwa Florence Price oder William Grant Still. Es gibt noch viele andere Komponisten, deren Geschichten erst heute erzählt werden‘“, sagt Hope.

Markus Roberts fügt hinzu: „Amerikanische Musik verkörpert das amerikanische Leben: Flexibilität und die Fähigkeit, kontinuierlich etwas zu erschaffen und neu zu gestalten“. Hope und Roberts sind über die Jahre oft zusammen aufgetreten; mit dieser Aufnahme
faszinieren sie einmal mehr durch einen exzellent musizierten Dialog zwischen Jazz und Klassik.

Over the last decade-and-a-half, C Joynes has ploughed a singular furrow through solo guitar, with a body of work incorporating English folk-tunes alongside North & West African music, and lifting proto-minimalist and improvised techniques from the European classical and avant-garde traditions.

His new release, ‘Poor Boy On The Wire’, is his first full album dedicated wholly to the electric guitar. Through a typically wide-ranging set, Joynes exploits the instrument’s potential by placing intricate parlour music alongside overdriven garage blues throw-downs, wiry electric folk and the brittle ringing tones of free improvisation. However, these explorations of the tones and timbres of close-mic’d guitars and amplification retain an overall coherence and unity through the deliberate use of a limited palette of budget instruments and vintage equipment.

With ‘Poor Boy On The Wire’, Joynes has released 9 albums to date, including ‘The Borametz Tree’ (2019), recorded with long-term fellow travellers Dead Rat Orchestra, and ‘The Wild Wild Berry’, a collaboration with singer Stephanie Hladowski (MOJO Top 5 Folk Albums 2012, fROOTS Editors Choice Album Of The Year 2012). He has played extensively across the UK, Europe and the USA, sharing bills with performers including: Shirley Collins, Martin Carthy, A Hawk And A Hacksaw, Marc Ribot, Alasdair Roberts, Richard Dawson, Jack Rose, Josephine Foster, Sir Richard Bishop, Six Organs Of Admittance and 75 Dollar Bill.

“As much Conlon Nancarrow and Ali Farka Toure as Blind Lemon Jefferson, the compositional mind at work here can take apparently disparate threads of modernism and ethnic tradition and treat them as though they were all archaic blues styles learnt from dusty 78s.”
BRUCE RUSSELL, THE WIRE

“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease, and dashed off with a phenomenal, yet lightly applied technique.”
ROB YOUNG, THE WIRE

“His epigrammatic re-castings and re-readings of widely-travelled folk melodies and rhythms from a variety of traditions suggest shared memories that might be intensely universal while seeming strangely out of reach.”
KEVIN MACNEIL BROWN, DUSTED MAGAZINE

Pleasure Pool are Finn O’Hare, Andrew Robertson and a rolling cast of Glasgow-based musicians, performers and artists. They sound like nothing else to have come out of Glasgow recently, exploring the territory between live performance and club culture through their collaborative ethos and party-starting attitude. Their debut EP, Night Scars, arrived in early March 2020 and now comes Love Without Illusion, Pleasure Pool’s debut album, released on Optimo Music.

Love Without Illusion adds layers of complexity and introspection to Night Scars’ squarely dance floor-focused brew, though the record still oozes danceable energy. Open Hours is like opening a door and finding a party already in full swing, an assortment of recurring Pleasure Pool motifs – echoing, dubbed-out vocals, gorgeous, impossibly airy synth melodies, louche percussion, cowbells, rising and falling flecks of trumpet – all introduced in short order. Lick The Bag, which prominently features vocalists Chloe Charlton and Raissa Pardini, has a controlled chaos befitting its morning-after-the-night-before name.

The rest of the album rides this glimmering, night-magic mood at varying frequencies, with the title track a gentle storm of grandiose walls of synth and pulsing vocal fragments. The slow and low flickering funk of album closer Zero Hours pulls all that has come before it together to end things in the woozy bliss of a walk back home in warm, gentle sunlight.

Love Without Illusion is a dazzlingly complete expression of Pleasure Pool’s intoxicating sound and vision. Dive on in and explore.

In March 2021 Dvne released their seminal second album Etemen Ænka which was hailed by fans and press alike around the globe. Eager to bring the new album to the stages, the band was setback by the pandemic as so many other bands. However thanks to their relentless work, Dvne managed to play two successful European tours with their label mates in Déluge and UK shooting stars Bossk. Even though the world is slowly getting back to normal, touring is still a difficult undertaking. So, for the first anniversary of Etemen Ænka the band decided to set up a digital live stream of 4 songs to finally bring the new songs to life to fans around the globe in a safe way. The outstanding live performance was recorded in their hometown Edinburgh together with the help of producer Graeme Young, who already produced Etemen Ænka. For the first time ever, the band performed the new songs live with special guest Lissa Robertson on violin and vocals.

Coral City return early in 2022 with an excellent release. N&W are on duty again, here with three stand-out tracks.

Rave on the A-Side does exactly what it says on the tin. It's 808 State meets Larry Heard with a touch of Inner City. Stripped down and four to floor. Classic Roland 909 drums are met with a hook that shakes any dancefloor. Expect early support on this.

Speed is a killer Nu-Disco / Boogie affair with a nod to the seedy underworld of the '80s. Picture Michelle Pfeiffer throwing shapes on the dancefloor in Scarface.

Finally, Cherry is an all-out Italo / Hi-NRG workout, the linndrums, the driving arpeggio bassline and overall melancholy feel, is reminiscent of Bobby Orlando.

DJ Feedback

Gerd Janson:
"Tip top super record!"

Jim Stanton / Horse Meat Disco:
"Great things again all three are sterling stuff x"

Justin Robertson:
"Very nice stuff cheers."

Luigi Di Venere (CockTail D'Amore/Philoxenia):
"Good times!"

Marco Passarani:
"Will def play cherry and rave. Loving it."

Vincent Neumann (Distillery / Leipzig):
"Another cute package from N&W! Thx"

South African-born, Amsterdam-based Lee Ann Roberts served up plenty of fresh techno in the last 12 months. It has taken her to the top end of the Beatport Hard Techno chart and to labels like Octopus Warehouse Series as well as her own NowNow Records. Fans of her tough sounds include Charlotte de Witte and Ken Ishii, while Lee Ann herself has played festivals like Caprices and BPM. Now she kicks off a new year in thrilling fashion.

The monstrous 'March Of The White Fireflies' is built on earth-shattering kicks drums and run through with edgy synth lines. The whole tune has a dark, dystopian atmosphere and muffled vocals add to the intrigue as the drums march on into ever more shadowy realms. First to remix is Glasgow's Frazi.er, a leader of the Scottish techno scene with his standout sets at mega-events like Terminal V amongst others. His tracks are as powerful as his DJ sets as this remix proves. It is an explosive rave tune lacerated by machine gun synths and flat-footed, insistent kick drums. Industrial textures and late-night paranoia all infuse this most peak-time weapon.

Next comes a remix from Charlie Sparks, an up-and-coming young artist notorious for his high energy sounds on labels such as NineTimesNine, COUP and Märked. His remix adds a little swing to the drums, but there is no less urgency in the synths. The scuffed-up kicks bring texture while the pulsing sonar pads add a sense of intergalactic space travel as lashings of acid light up the whole track. Brussels-based Jacidorex is a neo acid pioneer and runs a label of the same name. He has made everything from drum & bass to techno on labels like Molekül, Acid Night and Rave Alert and offers a superb remix here. His take on the original is sleek and stripped back but full of techno potency. The percussion is twisted, the synths corrugated and the groove unrelenting.

The Ethiopians are one of the great vocal groups to come out of Jamaica. Singing songs of life and times as they found them, themes that resonated with the people of the Island that made them such a treasured group. Lenard Dillon (b. 9 December, 1942, Port Antonio, Jamaica) the founding member of the Ethiopians began his singing career at Clement 'Coxonne' Dodd's Studio One. Initially he recorded under the name of Jack Sparrow, and backed by the Wailers, cutting 'Ice Water' and 'Suffering In The Land'. Under The Wailers encouragement, he went on to form his
own vocal group. Recruiting singers Stephan Taylor (b.1944, Portland, Jamaica) and Aston 'Charlie' Morris to become The Ethiopians. They cut 'Live Good', 'Why You Gonna Leave Me Now' and 'Owe Me No Pay Me'. Although receiving favourable response, Aston Morris decided to leave the band and the remaining pair carried on and cut 'I'm A Free
Man' and 'Don Dead Already' and 'For You'. On meeting contract builder Leebert Robertson who had recently returned to live in Jamaica, ashad he wanted to get into the music business, a session was booked for Treasure Isle Studios. The session produced their seminal 'Train To Skaville' track, which became an immediate hit in Jamaica and in the UK, when in 1967 it reached number 40 in the charts. They also cut 'Engine 54', which became the title of their debut album. Its
follow up 'I Need You / Do It Sweet', did not fare so well and the band moved over to Sonia Pottinger's stable, where they cut 'The Whip / Cool It Amigo' which revived their fortunes and proved another big hit for the band. Two more hits followed 'Stay Loose Mama' and 'The World Goes Ska', after which the band decided to return to a trio, adding
Melvin 'Mellow' Reid to the line up. The band now hit another run of successes with producer JJ Johnson 'Everything Crash, 'Gun Man', 'Hong Kong Flu' and 'The Selah'. Many hits followed leading the band to work with a variety of Jamaican producers. Such tracks as 'I Want To Be a Better Man, ' Conquering Lion', 'Fire A Mus Mus' Tail', and the timeless 'Reggae Hit The Town' to name a few. Two albums 'Reggae Power' (1969) and 'Woman Capture Man' (1970), pulled a lot of these tunes together. Sadly Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The
Observer and cut the Rasta based album 'Slave Call'. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello and Hychi Dread. An album that showed all the Ethiopians magic had not been lost.
For this release we have included the full 'Slave Call' set, 'Ethiopian National Anthem', 'Slave Call', 'Guilty Conscience', 'Hurry On', 'Mus Follow Babylon'(on CD Edition), 'Train To Skaville (1977 version, on CD Edition), 'Culture', 'Obeah Book', 'Let It Be' and 'I Love Jah'. Alongside some of the bands early hits including the original version of 'Train To Skaville', 'Engine 54', the great and poignant 'Everything Crash', 'Reggae Hit The Town' and 'The Selah'. An interesting set to remind us what a great group the Ethiopians really were.

A limited edition of 500 copies on white vinyl. First ever reissue of Alternative TV's "Action Time Vision", compiled in 1980 and featuring the group's 7"es from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue.

What Mark Perry says:
"It wouldn't be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself.

My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77.

That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums.

I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes…"

What Did You Expect from The Vaccines? is the debut studio album by English indie rock band The Vaccines. It was released on 11 March
2011, entering the UK Albums Chart at #4 and going on to become the biggest-selling debut by a band in 2011.

The Vaccines were formed in West London in 2010 by Justin Hayward- Young (lead vocals, guitar), Freddie Cowan (lead guitar, vocals), Árni Árnason (bass, vocals) and Pete Robertson (drums, vocals). The band have released four studio albums and have sold more than two million records worldwide. They have performed at the world’s biggest festivals and toured with acts such as The Rolling Stones, Arcade Fire, Arctic Monkeys, The Stone Roses, Red Hot Chili Peppers, Imagine Dragons and Muse.






RELEASE: 25-6-2021

What Did You Expect from The Vaccines? drew comparisons to The Ramones and The Jesus and Mary Chain and contains 6 singles; “Wreckin’ Bar”, “Post-Break-Up Sex”, “If You Wanna”, “All In White”, “Nørgaard” and “Wetsuit”.

The 10th anniversary edition on black vinyl contains an exclusive, brand new insert + a free download coupon for the original album + unreleased What Did You Expect From The Vaccines? Demos album.

Ahead of their sophomore album, ‘Now is a Long Time’, subversive electronic-punk provocateurs Otzeki are unveiling the latest track, ‘Unthunk’, alongside a striking visual directed by Frankie Roberts. ‘Now is a Long Time’ is set to be released on 19th March 2021 via Akira Records. Singer Mike Sharp on the song: “Unthunk is a sardonic ‘maditation’ on pop. In terms of musical references, I was inspired by the kitschiness of Billy Joel’s ‘We didn’t start the fire’ after overhearing it at the Stapleton Tavern in Finsbury Park, I was also watching a bunch of music videos by the band Devo, Daft Punk, Throbbing Gristle and Kendrick Lamar. The seed grew out of a quirky drum loop Joel and I made using his TR8 drum machine, which gave the song a far slower vibe before Beni Giles later introduced vocoder and synths into the mix, taking it back to the 80’s.”

What Did You Expect from The Vaccines? is the debut studio album by English indie rock band The Vaccines. It was released on 11 March

2011, entering the UK Albums Chart at #4 and going on to become the biggest-selling debut by a band in 2011.

The Vaccines were formed in West London in 2010 by Justin Hayward- Young (lead vocals, guitar), Freddie Cowan (lead guitar, vocals), Árni Árnason (bass, vocals) and Pete Robertson (drums, vocals). The band have released four studio albums and have sold more than two million records worldwide. They have performed at the world’s biggest festivals and toured with acts such as The Rolling Stones, Arcade Fire, Arctic Monkeys, The Stone Roses, Red Hot Chili Peppers, Imagine Dragons and Muse.

This limited 10th anniversary edition is pressed on solid pink vinyl. The LP package contains an exclusive, brand new insert + a free download coupon for the original album + unreleased What Did You Expect From The Vaccines? Demos album. Only 2500 copies are available.

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

In-demand deep modal jazz tune from Belgium featuring Babs Roberts!

The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.

Bobby Sparks II ist vielen ein Begriff. Sei es als Keyboarder bei Snarky Puppy, Marcus Miller, Prince oder Liz Wright, Bobby hat überall markante musikalische Spuren hinterlassen. Und nun ist es endlich soweit: Mit "Schizophrenia - The Yang Project" steht Bobby Sparks Debutalbum (2CD Set) zur Veröffentlichung bei LEOPARD an. Es hat gedauert, um diese außergewöhnliche Sammlung unterschiedlichster Songs zu produziern. Aber es hat sich mehr als gelohnt: zeigt sich darin doch das breite musikalische Vokabular und der schier unerschöpfliche Schaffensdrang des Keyboarders. Vom slammenden Funk bis zu langsamen, groovigen Soul-Balladen und Streifzügen in die Genres Straight-ahead-Jazz, Fusion, Orchester- und Weltmusik: das sehr passend betitelte Album "Schizophrenia - The Yang Project" vereinigt eine Vielzahl verschiedener Musikstile in sich, ohne dabei das Gesamtbild aus den Augen zu lassen. Mit an Bord auf dieser außergewöhnlichen musikalischen Reise sind eine Reihe seiner alten Freunde aus Dallas, sowie viele Stars des Genres - etwa die Bassisten Marcus Miller, Pino Palladino, MonoNeon und Hadrien Feraud, der Trompeter Roy Hargrove, die Sänger Frank McComb und James - J. Rob' Robinson, Snarky Puppys Michael League und Jason - JT' Thomas, die Gitarristen Lucky Peterson und Eric Gales sowie die Drummer Mark Simmons, Brannen Temple und John - Li'l John' Roberts.

New Order Presents Be Music is a compilation of productions by members of iconic Manchester group New Order, including classic dance and electro tracks released on Factory Records between 1982 and 1985, as well as more recent remixes for current artists such as Factory Floor, Marnie, Tim Burgess and Fujiya & Miyagi.
The generic tag Be Music was first used in 1981 and covered studio production work by all four members of New Order: Bernard Sumner, Peter Hook, Stephen Morris and Gillian Gilbert. Sumner often teamed with Donald 'Dojo' Johnson of A Certain Ratio, including the pioneering electro cuts featured here by Quando Quango, 52nd Street, Marcel King, Paul Haig and Surprize. Morris and Gilbert worked with Thick Pigeon, Life, Red Turns To and also 52nd Street. Although more rock orientated, Hook proved he was no slouch on the dancefloor either with the mighty Fate/Hate by Nyam Nyam.
'Producing was a really important sideline,' recalls Bernard Sumner of the Factory era. 'It's OK doing it because although all the groups are skint, you learn a lot and you're helping somebody.'
After 1985 the band focused more on producing their own records, both as New Order and solo projects such as Electronic, Revenge, The Other Two, Monaco and Bad Lieutenant. However in recent years Stephen Morris in particular has remixed several newer artists, notably London industrialists Factory Floor, as well as former Factory workers A Certain Ratio and Section 25.
Bonus tracks on the 3xCD box set include Knew Noise by Section 25, produced by Ian Curtis and Rob Gretton of Joy Division way back in 1979, and the complete 22 minute version of Video 586, recorded by New Order themselves in 1982.
 All tracks (12 on vinyl, 36 on the CD) are newly remastered. The liner notes feature commentary on the tracks by the artists and the members of New Order. Design and packaging are by Matt Robertson/Peter Saville Studio.