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2024 Re Edition
French producer and DJ Nathan Melja returns with his debut album, "With Dan!", out via his own imprint Parodia, the follow-up to a series of breakthrough releases on cult labels Mister Saturday Night, Technicolour, Antinote, Kalahari Oyster Cult and more.

Produced and recorded over the past two years hand-in-hand with his father Dan, a seasoned guitarist and sound engineer, this album is his most personal project to date and holds a true feeling of spontaneity, juggling between genres and driven by Nathan's characteristic unrestrained creative approach.

Over the course of its ten tracks, Nathan gently steps away from his previous dance offerings in favor of exploring new paces and rhythms, while consistently delivering a refreshed take on his trademark hybrid sound palette and textures. On "With Dan!", he embarks an array of local and international friends on vocals, which bring yet another dimension to his rich, at times lush, at others challenging music.

Forget what you know! We don't know nothing!

2024 Repress

In the midst of House music's burgeoning scene in 1986 Chicago, a young local DJ named Jonathan Gilbert, known as Scrappy, seized a golden opportunity to showcase his skills at the renowned Medusa's Club's video room. It was in 1987, one fateful night, when the main DJ failed to show up, that Gilbert stepped in, securing a residency at one of the city's hottest spots. As the year progressed, Gilbert ventured into music production, teaming up with The Boxx Boys--Jim Marcus and Van Christie, notable for their later formation of the iconic group Die Warzau. Their collaboration birthed the legendary acid house anthem from Chicago, "Freeze," which Gilbert released under his Zap Records label in 1988, solidifying his place in Chicago's music history. The track became a timeless favorite, and is often featured in Jerome Derradji's sets. With Scrappy's gracious consent, we have the privilege of reissuing this seminal track, along with delving into his archives to uncover previously unreleased gems and alternate versions from his Atlantic Records era around 1990. For a brief period, Scrappy rode the waves of Chicago's house scene with his distinctive flair before bidding farewell to pursue new horizons in California. Presented for the first time on Still Music, "Acid House + Medusa's - Chicago, 1987-1992" invites listeners on a journey through the vibrant tapestry of late-eighties Chicago House. DJing, indulgence, romance, and the pulsating beats of acid house defined Scrappy's era, and fortunately, he left behind a legacy of unforgettable house tunes, emblematic of the city's unparalleled musical spirit. This limited edition DLP release, accompanied by an insert detailing the captivating tale of one of Chicago's unsung talents, ensures that Scrappy's story and his contribution to the era remain etched in musical history.

Oliver Dollar unveils part two of his ‘Contemporary’ EP on Rekids.The release features collaborations with Brillstein and Harvard Bass.

Part two of Oliver Dollar’s ‘Contemporary’ EP will be released this July via Rekids. It follows part one, released in April of this year, which saw him team up with ADMN, Austin Ato, and APROPOS and featured a remix from Brian Kage. With the first part winning support from the likes of Laurent Garnier, Nightmares On Wax, and Dam Swindle, this next EP continues with an equally promising cast behind the wheel, as Dollar brings in Brillstein and Harvard Bass for more irresistible house funk across three tracks in part two.

First up on the ‘Contemporary Part Two’ EP, Jesse Rose, Diplo and Switch collaborator Brillstein joins Oliver Dollar for ‘Pill Popper’, a real dancefloor-igniting underground cut with an unforgettable hushed vocal over infectious rhythms. It is followed by Oliver Dollar and Harvard Bass’ ‘Funky Brewster’, which sees the Tuskegee, Relief Records, and Turbo artist complement Oliver’s house style with signature jackin’ flair. A repeating vocal and hard-hitting drum beat keep centre in this party anthem before Dollar flies solo for ‘Funked Up’, in which a low-slung groove and dreamy, chopped-up vocal work in harmony before breaking down into a jazz-inflected midsection,
making for the perfect outro to a fantastic two-part series on Radio Slave’s Rekids.

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ brings you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill-a-minute dive into the crazy awesome world of Garage Psychedelic Rock.

From the Psych sound explosion onto the underground club scene in the US and UK in the mid 1960s, to its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990 - early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of ‘60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of underground floor fillers a plenty.

US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.

In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and ‘60s sound and made it their own. A whole crop of bands such as White Hills, Gnod and Goat from the scene have evolved the music into a ‘Pzyk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.

The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s The Stairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered ‘90s Psych Hammond band from France with ‘Electrocution’. Hailing from Sweden Goat bring us ‘Gathering of Ancient Tribes’ and The Hives their dancefloor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig-out that is ‘Half Full Glass of Wine’ that closes the album.

This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!

Oscar Peterson's Frank Sinatra tribute features his trio with bassist Ray Brown and drummer Ed Thigpen. The renditions are all under four minutes and are highlighted by "Come Dance with Me," "Just in Time," "I Get a Kick Out of You," and "How About You?" This is one of OscarPeterson's most essential dates — swinging and enjoyable. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

- DJ Romain

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.

Autorisierte Deluxe 2LP Ausgabe des von Henry 'Junjo' Lawes produzierten 'Evil Curse of the Vampires'.
Original Greensleeves zusammengestellter Dub-Klassiker, entscheidende Auswahl von Junjos klassischen, von Roots Radics angetriebenen Rhythmen, aufgenommen bei Channel One und gemischt von Scientist bei King Tubby's.
Das remasterte, ikonische Dub-Album ist jetzt mit einer zweiten Disc mit den Original-Vokalversionen versehen.
Streng limitierte einmalige Halloween-Pressung auf orangefarbenem Vinyl.

Repress.

Welcome to “Through Lines”, a collection of hand picked tracks by genre nomad and bass innovator Martyn, made between 2005 and 2015, carefully recovered and remastered for vinyl and digital release on 3024. Previously only available on 12” across a scattering of different labels, this set includes essential ‘Martyn Music’ (as the producer likes to classify it); tracks like “Vancouver” (A 140 staple to this day), “Mega Drive Generation” and his classic remix of TRG’s “Broken Heart”, as well as deeper cuts like the rare “Friedrichstrasse” and house gem “For Lost Relatives”.

This is not just a compilation of remastered music, it’s a document of an era of UK inspired dance music where ideas, genres, tempos and scenes seemed to rapidly merge and splinter off. An exciting time where producers constantly tried to one-up each other with new ideas and influences, in a vibrant international scene of small club nights from FWD>> and DMZ in London to Red Zone (co-run by Martyn) in the periphery, the earliest online forums like Dubstepforum and radio shows like Dj Flight’s BBC 1xtra show and Mary Anne Hobbs’ Breezeblock. Innovation in music never happens in a vacuum and is always a product of community, producers, writers, and other makers continuously inspiring and pushing each other to come up with the next thing. This ethos is present in all of Martyn’s music throughout the years, but also in his work with Jeroen Erosie as 3024 and within the 3024 Mentoring Program he runs today.

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

Der aus Wien stammende und mittlerweile in Manchester beheimatete Produzent salute (Pronomen mittlerweile „him/ they“, folglich im Deutschen wieder Singular) kündigt sein kommendes Album, „TRUE MAGIC“, an, das am 12. Juli 2024 bei Ninja Tune erscheint. Auf dem kommenden Album von salute sind außerdem Disclosure, Empress Of, Karma Kid, Sam Gellaitry, piri, Léa Sen, LEILAH und Nakamura Minami vertreten.

Mit ästhetischer und auditiver Inspiration durch alte japanische Autowerbung, die salute stundenlang in YouTube-Archiven recherchierte, entwickelte er ein Konzept für das Album, bei dem sie den legendären 1985er Toyota MR 2 W1 in einem Rennen namens „TRUE MAGIC“ fahren. Dieses sehr visuelle Konzept half dabei, den Sound des Albums voranzutreiben und dem Album ein Gefühl von treibender Dynamik zu geben. Die Albumankündigung folgt auf seine allererste Nominierung bei den MOBO Awards 2024 in der Kategorie „Best Electronic/ Dance Act“ nach der Veröffentlichung von salutes EP, „Shield“, die von The FADER als „verträumt“ und von Clash als „Surging with spring-like energy“ gelobt wurde. „Shield“ folgte auf die früheren Singles „Joy“ und „Therapy“ und wurde von Künstlern wie Four Tet, DJ Seinfeld, Floating Points, Mall Grab, Daphni, Skrillex, Fred Again und anderen bestätigt, was ihn zu einer Kultsensation machte und die Bühne für ein größeres Album bereitete. salute wurde mit 18 Jahren in die britische Clubszene eingeführt, nachdem er nach Brighton und dann nach Manchester gezogen war. Dort kam er mit der Clubkultur in Berührung, die sich zuvor nur auf Videos bei YouTube und Boiler Room beschränkt hatte. Von hier aus verfeinerte er seinen unverwechselbaren Sound, der sich aus seinem neu gewonnenen Verständnis für Genres wie Grime, Garage und Dubstep speiste.

Der aus Wien stammende und mittlerweile in Manchester beheimatete Produzent salute (Pronomen mittlerweile „him/ they“, folglich im Deutschen wieder Singular) kündigt sein kommendes Album, „TRUE MAGIC“, an, das am 12. Juli 2024 bei Ninja Tune erscheint. Auf dem kommenden Album von salute sind außerdem Disclosure, Empress Of, Karma Kid, Sam Gellaitry, piri, Léa Sen, LEILAH und Nakamura Minami vertreten.

Mit ästhetischer und auditiver Inspiration durch alte japanische Autowerbung, die salute stundenlang in YouTube-Archiven recherchierte, entwickelte er ein Konzept für das Album, bei dem sie den legendären 1985er Toyota MR 2 W1 in einem Rennen namens „TRUE MAGIC“ fahren. Dieses sehr visuelle Konzept half dabei, den Sound des Albums voranzutreiben und dem Album ein Gefühl von treibender Dynamik zu geben. Die Albumankündigung folgt auf seine allererste Nominierung bei den MOBO Awards 2024 in der Kategorie „Best Electronic/ Dance Act“ nach der Veröffentlichung von salutes EP, „Shield“, die von The FADER als „verträumt“ und von Clash als „Surging with spring-like energy“ gelobt wurde. „Shield“ folgte auf die früheren Singles „Joy“ und „Therapy“ und wurde von Künstlern wie Four Tet, DJ Seinfeld, Floating Points, Mall Grab, Daphni, Skrillex, Fred Again und anderen bestätigt, was ihn zu einer Kultsensation machte und die Bühne für ein größeres Album bereitete. salute wurde mit 18 Jahren in die britische Clubszene eingeführt, nachdem er nach Brighton und dann nach Manchester gezogen war. Dort kam er mit der Clubkultur in Berührung, die sich zuvor nur auf Videos bei YouTube und Boiler Room beschränkt hatte. Von hier aus verfeinerte er seinen unverwechselbaren Sound, der sich aus seinem neu gewonnenen Verständnis für Genres wie Grime, Garage und Dubstep speiste.

Charly Records proudly presents Chapter Two in the Wigan Casino Northern Soul series. A very special double-LP gatefold edition celebrating the 50th Anniversary of the legendary Mr Ms club that opened its doors in the early hours of Sunday 22nd September 1974. Every Saturday night, for eight years, the faithful made the pilgrimage to the desolate mill town of Wigan to a pre-war dancehall on Station Road. It was a sanctuary, a place of togetherness, elitism, and the catalyst for the music scenes longest enduring sub-culture… Northern Soul. Our exclusive playlist highlights key records from the thousands played at the famed all-nighters by its original, founding, deejays, Richard Searling. Russ Winstanley, Kev Roberts and Dave “Mr M” Evison. Keep The Faith…

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

Side A / Double A / Gotta be a Sucka 4 Luv
After almost two years on digital, Double A’s “Gotta be a Sucka 4 Luv” finally gets its vinyl
release. Blending elements of classic funk and soul with “that vocal!”, it’s an instant party
rocker. Snappy drums, bigged up for the dance floor, an unmistakable bass line, and horn
stabs for days are the icing on the cake. You know the sound!
Side AA / King Most / Standing Out
Another long-awaited vinyl pressing for a digital-only sure-shot! San Francisco’s King Most
delivers the goods once again. Classic funk and R&B vibes with a killer male vocal and drums
for the club. This one has been a staple in digital crates for a while now, and hits any time of
night.

First career spanning compilation on vinyl, covering studio albums, singles and unreleased tracks (2009-2023) by the acclaimed Peruvian instro band, Los Protones. A collection of intense recordings - mostly originals - which combine surf music, psych, garage, and tropical & Andean flavors. DESCRIPTION The Protones began their strange journey in Lima, Peru, in early 2007. The band's roots were as a side project for several members of Manganzoides, a well-remembered Peruvian garage rock band, but they quickly consolidated their own instrumental style that, to this day, combines musical genres from the 60s such as psychedelia, surf music and garage rock, sometimes paying tribute to Peruvian rhythms such as chicha and Amazonian cumbia. They are surely the only band in the world that has shared stages with Los Shapis and the New York Dolls, although not on the same night... Over the course of two decades they have played countless concerts, including visits to Europe and other Latin American countries. The music on this compilation comes from their four, full-length studio albums: "Los Protones", "Hijas del Diablo", "Maravilla!" and "Misión: OA4", in addition to the previous CD compilation "20 Monstruos! 2007-2015" and "Double Feature", a split CD with the Brazilian band Os Brutus. The group's current lineup includes Gonzaleo (guitar), Tito (drums), Jimi (keyboards), Andrés (bass) and Lucía (violin). Dance floor oriented tropical music at its best!

The vibrant genre Eurodance originated in the late Eighties in Europe and combines many elements of rap and rich melodic vocals with strong bass rhythms and cutting-edge synthesizers. The 2LP Eurodance Collected compiles the best hits from Eurodance, including Snap! ""Rhythm Is A Dancer"", Technotronic's worldwide smash ""Pump Up The Jam"", catchy sing-a-long self-titled Captain Jack track, Dutch group Vengaboys' ""Boom, Boom, Boom, Boom!!, Belgium's hit-wonder 2 Unlimited's ""No Limit"" plus 22 other guaranteed dancefloor fillers. Eurodance Collected is available on black vinyl and includes an insert.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

The excellent Minimal Wave serves up a long-awaited LP here that features unreleased treasures from the influential UK duo, Vicious Pink, who first met at The Warehouse night-club in Leeds in the late 1970s and went on to reshape synth-pop. They notoriously lent their backing vocals to friends Soft Cell but went on to have success as a duo with avant-garde singles that defied norms and climbed the UK dance charts between 1982 and 1986. Now, Unexpected offers glimpses into their creative process and is packed with pop experiments recorded on the fly, some of which are with Dave Ball of Soft Vell/Grid fame. Limited to 999 copies on Coke bottle clear vinyl, this release is a true collector's gem that includes an exclusive postcard.

Repress!

HERBERT HUNTER will be forever worshiped by the UK Northern Soul scene for his anthemic 45 'I Was Born to Love You', recorded in the home of country music, Nashville, in 1967. Sometimes things are just meant to be and they collide in perfect harmony. 'I Was Born To Love You' is a case in point. The perfect lyric - 'I Was Born To Love You, You Were Born To Tear My Heart Apart' - the perfect beat, and perfect timing as it crashed onto these shores in the summer of '76 when Northern Soul was at its zenith and Wigan Casino owned the All-Nighter scene! But, Hunter is no one-trick pony, as his list of collectable 45s bears testament, not least 'Happy Go Lucky', also on Spar. Hunter was part of Ted Jarrett's roster of artists and, under Jarrett's stewardship recorded a string of cover versions under the pseudonym Leroy Jones for the neighbouring budget label 'Hit'. He learnt much of his trade from established artists and label mates such as Gene Allison who he toured with as minder and nursemaid, due to Allison's drink problem. Often, when they arrived a venue, Allison was too drunk to perform and Hunter would step in for him.
For our B-side we've chosen a lesser known, but no less wonderful and gritty Northern Soul dancer 'I Know The Feelin'' by THE JADES. Currently very much in demand with a mint copy selling earlier this year for over $900. We know little about The Jades who recorded this incredible slab of up-tempo soul for Ted Jarrett's Poncello label in 1964 featuring, of course, Herbert Hunter's booming lead vocal.
Many thanks to Fred James for making this superb double-sider possible.

Diggers Society is an underground electronic music label based in Barcelona. This debut release encapsulates the label's musical philosophy, featuring two tracks produced by legends Francesco Farfa and Miki (in collaboration with Niki IL B and Andrea Melly), and two tracks produced by talented artists from the new generation such as Luca Piermattei and Lucio. The result is a complete EP, featuring 4 different dancefloor-oriented productions, each one for a different moment of the night.
Artwork by @designattitude_graphic

Next Polyamore Recs release comes from Costariva, a really interesting project from Bologna (ITA).

‘Pantera’ intended to transport the listener into the midst of the vibrant paths of a dancing journey to the sound of Italo-disco rhythms, bringing body and soul back to the belle époque of Italian disco music.

“Miscela originale” is a blend of Catchy bass lines and shimmering melodies, amalgamated by the colours of strings and synths, the track is the result of the artistic blend between the music produced and arranged by Federico Franciosi and the words skilfully framed with an ironic and boisterous vein by Giorgio Michele Longo (aka Giargo) and Francesco Zaniboni (aka Dj Rou).

“Rivisitazione adriatica” has a catchy, sexy groove and a horns part that let you go on summer nights.

“Sam Ruffillo Rework” is a dancefloor ready track for your best peak-time in the next summer season festival.

‘Pantera’ is also intended as a veiled homage to one of the greatest and most underrated innovators on the Italian and international music scene, Pino D’Angiò.

With its infectious rhythm and playful spirit, ‘Pantera’ promises to make listeners dance and smile, instilling a little healthy and amused nostalgia in all travellers of the night.

Two years after the release of the Polarius EP Inner Voices Of A Clown, Danny Wolfers returns to Altered Circuits, this time under his best-known alias Legowelt, for Ruins Of Cracktopolis: a collection of "hymns to survive the dystopian circus of today's techno scene" in the artist's own words. On Do You Know Who You Never Be, a short staccato lead and dark chords revolve around a monolithic kick drum pattern that takes care of the cadence and bass. A mysterious vocoder and a laser sequence that gets torn and twisted to the max join, but the track never loses its steady pace - it gets help from shakers so much mixed to the front they could be lifted from a B'more track.

Amidst the effervescing 303 lines and bold drum sequences of In A Trance Dance All Night" Wolfers finds a canvas for a stretched synthesizer jam with eighties breaking allure. This melody, together with the pads and vocal, are drenched in reverb - they float like mist ascending from the The Hague dunes. Throughout Ruins Of Cracktopolis, more vintage Dutch West Coast, the hiss-laden broken beat that guides the bass sequences and ominous blippy synth patterns switches to a 4/4 structure and back. These make for captivating shifts in pace while the minor progressions continue unfolding. Like Twin Peaks targets prime energy once the arpeggiator sequence present from the start lowers an octave. The track runs smooth like a pomade slick-back; it's only tempered slightly when the crunchy kick and tom change place for a moody chord sequence break. Even if these four tracks target the club, they are equally suited for - quoting Wolfers again - "leisurely home listening". Their greatest strengths are, as so often, their melodic aspects.

The artist is known to be a synthesizer aficionado, but his unique personal touch immediately shines through no matter which gear he works with. The machines never seem to dominate the composing process; quite the opposite: it's as if he isn't programming or registering as much as trying to teach them his take on electronic music.

Or Kantor, a respected tattoo artist and the creative force behind the renowned "Love Light" studio stepping into the music scene for the first time with his debut album "Sarda Sarda" blending the atmospheric tones of surf music with influences from Mediterranean ballads

All Again. That's the title of the upcoming full-length record from Philadelphia's Queen of Jeans. The LP tracks an entire arc that, by the final hazy vibrato wash of "Do It All Again," bleeds back into the ambient first seconds of the record. "Thought I'd call tonight, hear how you're dealing," Miriam Devora sings to a distant lover on opener "All My Friends" in a neon-lit, melancholy tenor, the precise sound of lonesome love. The full band joins her in a beautiful night time sway, but it's still no use: "I got all my friends around, but I'm not home til I'm alone with you."The rest of the record follows this relationship as it tumbles through loneliness and longing, to elation and joy, to pain and anger, and finally to its foggy close, where Devora admits, "If I got to do it all again, I'd find you there like I did back then."Releasing on Memory Music, All Again is principally an enveloping, rich indie-rock record, changing dance partners between cheek-to-cheek '60s pop sweetness, '90s alt-rock dirt, spacious and pained emo, and the songcraft and melodicism of the sharpest acoustic singer-songwriter acts. Devora (vocals, guitar, keys) and Matheson Glass (lead guitar, piano) took extra care this time to create a Queen of Jeans full-length that reflected in sound and structure the emotional depths they were exploring.It's the first time since their 2015 debut, Dig Yourself, that they've had a full band, with drummer Patrick Wall and bassist Andrew Nitz, to build with. Where on releases like 2022's sparkling lockdown-pop Hiding In Place Devora and Glass had gone into producer and mix/master engineer Will Yip's Studio 4 with sketches and worked with Yip to arrange the songs in studio, this time, they went in with a complete vision for the record. That allowed them to use studio time to expand the record's sonic boundaries. "We had a lot more room to play with some of the ear candy we've always wanted to explore and get weirder in the studio," says Glass.Those elements lend a physicality and playfulness to the memory and emotions that unfurl through All Again. "We're trying to tell the story of when you look back at an important relationship," says Glass. "Years go by, and the more you reflect on it, it becomes more warped and the facts become a little bit more murky. We wanted to play with that and get surreal with the story." (Literally: listen for a "monster" voice in the already-released banger "Karaoke.") The record's artwork, conceptualized by Devora, renders this idea with devastating clarity.

Gottwood Festival's imprint Gottwax returns for its eighth installment. At the controls of this release is the London-based duo 'Make A Dance,' whose playful, party-driven sound has been making waves in the underground since their inception. Delivering a lively four-track EP, which includes two originals and two reworks, all of which are club-ready and certainly have 'The dance in mind.' This is going to make it into a lot of DJs' bags this summer and is not one to be missed."

Kicking things off on the A-side is 'Pocket Beagle,' a playful track that exudes energy with its infectious bassline groove and unforgettable vocal. Make A Dance showcases their slick production abilities and sense of humour with this track, which is sure to be a staple at many parties this summer. Moving to the A2, 'Pocket Beagle (Acid Dub)' is the duo's club-ready reimagining of the A1, injecting some serious attitude and character with its acid-infused bassline and metallic top line.

Onto the B-side, we've got 'Woof Doof.' This track is a real groover, with a lively bass and catchy melody. It's a solid addition to any DJ's arsenal and one you can expect to hear at many parties this year.Closing out the EP is 'Woof Doof (Hardcore Labrador Mix),' the duo's haunting rework that cleverly rethinks the B1 but takes you on a deeper journey. With its heavy drum groove, swelling sound effects, and that catchy top line, this track is tailor-made for those late-night dance floors.

We're excited to welcome Make A Dance to the Gottwax family and share the 'Woof Doof' EP with you.

Compiled by legendary producer Arthur Baker, ‘Breakers Revenge’ is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere.

First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs – Kool Herc, Grandmaster Flash and Afrika Bambaataa – and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey’s ‘Scorpio’, The Jimmy Castor Bunch’s ‘It’s Just Begun’, James Brown’s ‘Get on the Good Foot’, The Mohawks’ ‘Champ’ sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa’s ‘Planet Rock’, and Arthur Baker’s own definitive ‘Breaker’s Revenge.’ Breakdancing has come a long way from its New York roots to its respected position as an art form today where, for the first time ever, it is to be featured in the Olympics held in Paris this August 2024.

The ‘breakbeat’ remains at the very heart of hip-hop, the mercurial funk, soul and disco tracks, always 100% guaranteed to get B-Boys, B-Girls and Breakdancers moving at any block party, with the percussive breakdown of each track the pinnacle soundtrack to any dance/battle between Breakdancers of any note. Similarly these tracks have been sampled many 1000s of times over by every hip-hop artist and producer of note. KRS-ONE, Marley Marl, Kanye West, Jay-Z, Public Enemy, Eric B, The Fugees, Outkast, Mos Def, Main Source, Jungle Brothers, LL Cool J, De La Soul and, well, everyone!

Compiler Arthur Baker played a pivotal role in hip-hop history when in 1982 he produced Afrika Bambaataa’s seminal ‘Planet Rock’ (as featured here), introducing electronic instruments into hip-hop for the first time ever and in the process created electro. After ‘Planet Rock’, Arthur Baker went on to remix or produce every major artist of note – from New Order to the Rolling Stones, Al Green to the Pet Shop Boys

DJ Support: Don Letts (6 Music), Piet Blank Blank & Jones / Dj Ease Nightmares On Wax / Macca Nts Radio / Coyote / Mike Salta Music For Dreams / Pete Gooding / Layne Fox 40 Thieves / Chris Coco / Richard Dorfmeister Kruder & Dorfmeister / Bill Brewster / Simon Mills [Bent. Plus Loads More.

DJ Feedback:

Lovely laid-back vibes. Excellent! - Francois K [NYC, USA]

Ay what a beauty! Takes you away from the madness for a moment. - Macca (NTS)

Following on from Los Rayos Del Sol (2021) & the follow up Los Rayos In Dub (2022) NuNorthern Soul presents ‘Moonbeams’ by Ibiza based producer, per-cussionist and sunset selector, George Solar.

Inspired by nocturnal moods and illuminated by the moon in all its phases, this collection follows the vibrations of 'Los Rayos Del Sol.' It's a journey into night-time peace and harmony, embracing the moonlit atmosphere.

MEDIA LUNA (feat. Ken Fan)
Opening with angelic dubby downtempo, this track translated is 'Half Moon,' sets the tone for the night.

MOONBEAMS (feat. Ken Fan)
Featuring love poet JEN, 'Moonbeams' captures the rise of the moon and the message of love.

COUNTERMOON (feat. Ken Fan)
Originally a slower cumbia demo, this track evolved into a retro dance piece with a minimalistic touch. Reflecting the off-center vibe of lunar forces.

LUNATICOTINA (feat. Ken Fan)
A tribute to the global beats scene, this ritual tune incorporates grooves from all continents, dedicated to Ibiza's 'global beats' oasis LAYLAH venue.

O LUAR
Influenced by Samba vibes and the Brazilian approach to moonlight, this track combines Solar dub and cosmic stardust.

MOONBEAMS reprise (for KS)
A tribute to Klaus Schulze, a secret Solar Moon band member, this reprise is a spontaneous improvisation recorded in memory of the spiritual godfather.

Four years after releasing their debut record, Indus are back in 2024 with Negra, their second album. This record explores the essence of the night through dance, seduction and mystery, while paying homage to Colombian amphibious cultures and the land as that place that has seen us moving and that we always return to. With these ten songs Barranquilla producer Oscar Alford, along with Andres Mercado and a select group of collaborators, builds a bridge between the sounds and histories of the Pacific and the Caribbean, bringing together territories like a river running through them and connecting them. Oscar says that on this record "there's this confluence of various cultural universes, on the one hand there's the traditional music of the coast and river areas, there are various maestros who collaborated on the record and they brought that, also there's electronica which is a universal language, and even hip hop and more urban genres like dembow." The record kicks off with "Deja," a ritual of initiation, a galactic, synthetic entrance into a place of plenty, a journey to the ethereal and the night. It's followed, like light and guide, by the song "Alfa Indi," with Gamero singer Nelda Piña, a release of electronic sounds evoking creation in all its senses. The night is an excuse for and a generator of desire, seduction and flirting in "Candela tu Trá," in collaboration with Tomás Llerena, grandson of the legendary Petrona Martínez. The earth is evident in tracks like "Canción del muerto," homage to the marimba maestro Gualajo, with his brother Pacho Torres and Bogotá rapper N. Hardem, a song that could be a farewell ritual and tribute to the land as the place to which we always return, one that holds the history of those who walked that land and left their mark on it. We hear this in "Corre Cimarrón" with Ka Oddun, portraying the journeys of fleeing enslaved ancestors as they tried to survive until they reached the palenque, a place of freedom. Negra explores the mysticism of the night and the cosmos within the Colombian musical tradition. A dialog between root rhythms, voices and synths with bases oscillating between techno-champeta, afro-tech and future-dembow. With this record Indus comes across as one of the most versatile acts on the Latin American scene, especially in the way they reinterpret ancestral music and resignify its sound.

Includes The Drifters first big hit "Money Honey" and the signature song “Save the Last Dance for Me” for that group that continues to resonate with audiences today.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

Malmö’s Mod Sens arrives on Programm LDN with an electric intersection of soundsystem styles and taut techno and electro. Pushing inventive, bassweight dance music through his Melt club night in the city he calls home, the wildly talented Swedish producer brings an international outlook to his subtly crafted workouts.

“These four tracks were all made at a time in Malmö when electro was completely dominating the underground scene,” says Mod Sens. “That had a strong influence on the creation of these tracks, but I was definitely more urgent to create my take on ‘UK’ Sounds.”

The sound on Misperceptions EP is introspective by design, cast in melancholic pads which balance the rugged impact of the crafty drums and upfront low-end. Mod Sens himself describes exploring the tension between wanting to run and feeling ‘stuck’, and that yearning sensation culminates in four elevated cuts that uphold Programm’s commitment to advancements in club music.

Visual director Blackwall and graphic designer Alfie Allen responded to the tangible mood of the EP, resulting in an accompanying visualiser and sleeve design which round out the emotion Mod Sens was reaching for while working on the music. As a complete package, it’s an audio-visual statement which leaves a lingering impression, as any art worth making

International Superstar DJ and world-renowned artists, Jamie Jones along with hit making, Brit nominated songstress Jazzy, deliver THE ear-worm, dancefloor hit of the summer 2024…there’s no avoiding this future anthem.

‘We Groovin’ is the latest addition to Jones’ discography, following hit singles like ‘Fine Fine Baby’ and ‘Lose My Mind’. Tracks that continue to be supported by some of the best DJ's worldwide as well as plays at Jones weekly Paradise residency at Amnesia, one of Ibiza biggest club nights.

Jazzy, a Brit-nominated Irish DJ, earned acclaim with her Irish #1 single ‘Giving Me’. Her mix of training and passion for club music led to a Top 5 UK single with Belters Only on ‘Make Me Feel Good’.

Available on limited edition orange vinyl (1000 units only), in a collectable picture sleeve.

After turning in a wall-shaking remix of Essaie pas last year, Romanian production duo Khidja present their first EP for DFA. These four tracks are deep, spooky heaters - think John Carpenter in the club, with industrial basslines, frenetic melodies careening a bit out of control, and vocals echoing from the corners of the room. Their signature throb that runs along all four tracks, influenced by their time spent in underground scenes in Bucharest, London, and Berlin, as well as an emphasis on the jagged sounds of hardware.

Having established themselves with previous releases on labels like Hivern Discs and Malka Tuti, Khidja get darker, dubbier, and more twisted on In The Middle Of The Night. We find the record in the witching hour, and the tracks represent the cycle of nighttime mentalities, revealing the various directions the mind can wander in the place between consciousness and unconsciousness - mania, paranoia, even boredom. It all makes for a raucous dancefloor experience, with the duo bringing something new and heavy to the DFA roster.

Above & Beyond release yoga and mindfulness-inspired ambient LP: “Flow State” Above & Beyond today announced ‘Flow State’, a49-minute panoramic journey of ambient compositions and warm, neo-classicalsoundscapes that offer moments of meditative calm in these busy and often overwhelming times. A break from the anthemic dance sound that swept Above &Beyond’s ‘Common Ground’ LP to #3 in the Billboard Album Charts in 2018, ‘Flow State’ is the culmination of a journey which began at Burning Man in 2014. A chance encounter on the Playa led to a spontaneous sunset yoga set on the infamous Robot Heart stage, guided by renowned yogi Elena Brower. A magical and spiritual experience for those present, it inspired Above & Beyond to begin opening their biggest global gigs with yoga sets, creating transformative experiences for 25,000 strong crowds at The Gorge Amphitheatre in Washington and Huntington Beach, California. The original Burning Man yoga set has subsequently gone on to amass over 2 million streams on Soundcloud. As the band began writing more original music for these yoga sessions, the seed for “Flow State” was sown. “Our music has always been about getting in touch with, and understanding and accepting our emotions. After those amazing yoga sets, we realised thatthere is a bigger place for this more reflective music within our little universe,” explains Above &Beyond’sPaavoSiljamaki. “With the Flow State project, we want to help bring people's attention and focus towards helping themselves find better mental fitness and overall happiness in life,” adds Siljamaki. “Through raised awareness, being more present, one can reach a state of flow: a creative and free state of mind where time, fear and stress dissipate.” To long-time fans of Above & Beyond, this new album will come as no surprise; quieter moments have always been essential components of their chart-topping electronic albums.

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Session Victim need little by way of introduction having been releasing on Delusions consistently for the last 10 years and becoming the undisputed poster boys for the label in the process. Despite their regular appearance however, it’s always a real treat to announce a new record from the German duo and we have to say, the Screen Off EP may well find them in their finest form to date! Coming hot off their latest downtempo LP entitled Low Key, Low Pressure for Night Time Stories, you can tell Hauke and Matthias were ready to take things back to the dance-floor and have delivered an EP which looks set to become a future classic and no doubt big in the box of discerning DJ’s the world over.

Screen Off is really it’s own thing, living somewhere on the long and winding road between the Bar Kays and the Bad Brains, suffice to say that what it lacks in easily definable attributes it makes up for in sheer energy and raw attitude. Hauke and Matthias re-invite Jamaican poet and vocalist Ras Stimulant, who contemplates our screen addictions and urges us to disconnect and be present in the moment. Matthias’ rolling bassline provides the backbone, whilst hints of crunchy Moog and chopped guitar samples all bring a sense of urgency to the track.

Light The Way acts as an antidote, bringing a sense of calm melancholia in contrast to the title track’s low-end, funked-up fervour. A soft focus and almost distant drum groove draws us in whilst arpeggiating synths add a sense of optimism, reinforcing the tracks title.

Closing out the release we have Session Victim’s studio partner, good friend and all-round top producer Iron Curtis in for a remix of Light The Way. Johannes takes an interesting approach for his Illuminati interpretation, enhancing the breakbeat feel and mixing up chopped samples with classic 808 drums. A muscular bassline adds extra weight to his remix but without losing the subtle musicality and positive vibe of the original.

Being the vinyl purists they are, Session Victim and Iron Curtis top up the physical 12“ EP with the exclusive Screen Off Acapella and an additional Iron Curtis Remix Reprise.