Cerca:pure r

Göteborgs DREAM EVIL kehren mit 10 neuen Songs aus purem Stahl ins Rampenlicht zurück. Sieben Jahre nach ihrem letzten Album "SIX" melden sich die Autoren von "The Book Of Heavy Metal" endlich mit ihrem neuesten, siebten Studioalbum zurück, das den programmatischen Titel "Metal Gods" trägt. Der schwedische Metal-Produzent Fredrik Nordström (In Flames, At The Gates, HammerFall, Arch Enemy, Bring Me The Horizon etc.) war sowohl an den Gitarren als auch bei den Aufnahmen und dem Mixing in seinem legendären Studio Fredman beteiligt. Und denkt daran: HEAVY METAL always strikes back!

First reissue since its original release in 2014. Features by Sean Price, Guilty Simpson, Blu with production from DJ Premier, Illmind, Black Milk, Oh No & more.

The collaboration album from Brooklyn MCs Skyzoo and Torae is available once again after its original debut in 2014.

For years, fans of both Skyzoo and Torae asked the two to collaborate on a full-length LP, following the multiple singles they released together over the years. Classics such as the DJ Premier-produced "Get It Done" and "Click," and the !llmind-produced "Barrel Brothers" off Skyzoo's 2010 "Live from the Tape Deck" have been highly anticipated by their followers since 2006. The idea behind "Barrel Brothers" is what the people have asked for and come to know: the two wordsmiths for pure lyricism.

Skyzoo, known for his picturesque storytelling and jazz/orchestral background, and Torae, known for his gritty Coney Island depictions of life with a vintage yet modern lyrical approach, have briefly put their normal fortes to the side and crafted this album with one game plan in mind: lyrical exercise over hard New York City soundscapes. The current resurgence of NYC hip hop is the perfect grounds for two of its premier flag holders to continue doing what they never stopped doing in the first place: representing the city.

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Lithuanian producer Subliminal makes a compelling debut on Distrito 91 with a six-track EP designed for the dancefloor.

Balancing between electro and techno, this release captures raw analog soundscapes.

Recorded in Kaunas studio, each track features saturated four-on-the-floor drums, resonant basslines, acid flavors and dreamy pads, all crafted using hardware instruments. Pure club-oriented material recorded in analog jam sessions.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers with "Sao Paolo / Timmy", a new 7"/digital single release on July 26th on We Jazz Records. Lauded by the likes of DJ Koco aka Shimokita, Kenny Dope and Gilles Peterson, Mäkynen's studio creation released the new album Duktus in November 2023, the project's first full length in more than 10 years. Back a new version of album cut "Sao Paolo" polus an unreleased new track, "Timmy", the project a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise. Teddy Rok moves forward in all directions, constantly bringing new elements into his sound, which is more layered and deep than ever before. At the same time, the crunch & the breaks are there when you need them.

The Stance 7" sides are often dominated by crunchy drums and crystal clear vibraphone melodies, and that's the overall vibe here, too. That being said, Mäkynen keeps things moving forward at all times, achieving moments of pure bliss with tracks that sound compact but expand far and wide both emotionally and musically.

The Stance Brothers are active live as a four-piece band, appearing live over the summer in Finland at Odysseus Festival and Flow Festival in Helsinki, plus G Livelab Tampere.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.” The narrative follows a battle rapper through various moments in his career, starting with how they honed their battle rap skills, following their career through different moments. Musically, the new album finds Lupe delighting in the simple pleasures of assembling assonant syllables into playful and poignant narratives. The 8-track album is smooth, yet cerebral, brimming with ideas, but always radiating Lupe’s pure love for the art of emceeing and committing himself as a servant of the rap game. The album was produced in full by longtime collaborator and friend, Soundtrakk (“Superstar,” “Kick, Push,” “HipHop Saved My Life”), their second time linking up on a full album after 2022’s DRILL MUSIC IN ZION, and is also the first time Lupe, Trakk, and longtime manager Charles “Chill” Patton were in the studio together since Patton’s release from prison in 2023. “It felt great to be back in the studio again as a family,” Lupe says. It’s the first time they’d worked together in the studio since Lupe’s seminal album, The Cool in 2005. “The word ‘samurai’ means to serve,” Lupe says on the album’s title. “My relationship to that word has always meant that you need to be at the service of other people, either in the overall community, or in this instance, the rap community at large that I’ve been a part of for years. You have some duty, some purpose to serve. The title alone is very important to me. Before rap even, martial arts was my whole life, and it still plays a huge role in my life. The album is me, but also inspired by a quote I heard from one of my favorite artists. The overall themes of the album speak to the constant fight and the battle one goes through being in the entertainment industry. Some of the things we need to defend.”

UK Bass titan and Swamp 81 label boss Loefah makes his Teklife debut with Jump Start, three new tracks full of raw house energy. Taking cues from the Chicago tradition of feral 909 jams, these pummelling rhythms are met with eerie atmospheres and haunting speech. The late ghetto house godfather DJ Deeon adds his touches to the title track, stretching its acid squelches out and taking them even farther into space. It’s pure warehouse music, trippy yet ominous, perfect for getting lost in a dark corner at a rave.

2024 Repress

Physically and mentally draining in the best way possible, Wet Will Always Dry is maybe the most complete statement from Blawan to date, and as such should be ignored at your peril. This becomes evident from the album-opening 'Klade,' a dizzying, tumbling flight of pure energy over overlapping fields of electrified menace. This sets the stage for 'Careless,' which retains the hazardous, crackling atmosphere but dials back the intensity just enough to make room for a new feature, Blawan's eerie and disembodied vocals.

'Tasser' ratchets up the tempo and the frenetic energy yet more, slinging chunks of audio shrapnel and grinding factory noise over the kick-heavy beat, only letting up the tension every now and then for a convulsive breakdown. By the arrival of 'Vented,' a more steady, cycling groove has set in along with the accompaniment of suspenseful melodic swells, but the element of surprise is far from gone: there still seem to be spectral entities lurking around every corner, and there's no shortage of intriguing tumbril weirdness blowing around the imaginary streets that this track conjures up.

The slamming 'North' keeps alive the record's persistent, darkly humorous feeling that things are about to go off the rails at any moment, using wildly contorted sequences and granular debris to shift between total abandon and regimented strictness. A moment of relative calmness, along with the return of the atmospheric vocals, comes about with 'Stell,' a faintly dubby track that leaves an impression like watching streams of traffic progress underneath rolling, deep grey clouds.

'Kalosi' brings back the percussive motif of 'Tasser' and 'North,' this time partnering it with loops that bring to mind radioactive bass strings. 'Nims' then shuts things down with infectious harp-like sequences, fuzz-shrouded percussion and an 'everything but the kitchen sink' mentality towards filtering and processes which will get the attention of all but the most jaded soundhead.

Last month, Chase and Status returned to the limelight unveiling their hard-hitting and trailblazing singles “When It Rains” ft. BackRoad Gee, complete with a Jack McMullen starring, Hector Dockrill-directed cinematic visual and the addictive smash “Don’t Be Scared” ft. Takura. Today, the duo are making a true statement of intent for the year ahead, with the announcement of their sixth studio album, What Came Before. Created by Crown & Owls, the accompanying artwork captures a truly special and magnetic live moment. Speaking on the concept, Crown & Owls state:

“We wanted to create an image that captured the very human compulsion to gather in a dark room and dance and sweat. Such scenes have a different weight to them after they were off the table for a good while, and we were very interested in capturing a moment of collective catharsis in the shadow of a period of history that pushed isolation on so many. We were really interested in the stories of the individuals in the image - what drives them to want to be in that room? The whole campaign kind of works backwards from that moment in the photo really - the intersecting stories of the dance floor, and the sense of freedom and release it brings to the individual. The record sleeve, the single covers, visualisers and elements of the music videos were all captured at this special night - it’s been a joy to work on.”

Landing alongside the album announcement is new single “Mixed Emotions” - a euphoric and recognisably brilliant dose of true Chase and Status energy that landed alongside an incredible video, filmed in two halves and directed by UKMVA-winning Femi Ladi (Pa Salieu - “My Family”). Femi Ladi states:

“On nights out like this, sometimes you just want to get fucked up. Trying to get to that moment, when you’re out of your head and completely in the moment. Sometimes music gets us there, sometimes drugs and alcohol, sometimes it’s a combination of all 3.

I want to connect our camera to the chasing of that high. A visual metaphor for trying to reach that euphoria. Each time she takes a bump, a line or a pill, the camera closes in on her. The closer she gets to that euphoric moment, the closer the camera gets to her.

By the end I want the audience to have an uncomfortable and claustrophobic feeling as our hero goes slightly overboard, a feeling that most of us know but won't dare to admit.”

Consisting of 13 tracks, What Came Before distills 15 years of unparalleled experiences into a bold, invigorating sixth album; informed by global tours, sold out headline shows, five albums, multiple awards, chart success, underground kudos, top tier collaborations and remixes, and, above all else, that unwavering dance floor energy that remains as tangible and transformative now as it has since the very beginning. This pure, unadulterated exhilaration is the glue that binds all of these experiences together, cultivating a legacy of positive vibes, unforgettable moments and the continued progression of British club culture.

For trailblazers Chase and Status, the story is cyclical - a constant process of regeneration and refinement that comes full circle. Everything that came before, from their inception point to now, has brought them back to their essence.

Landing in the wake of their critically acclaimed specialist album RTRN II JUNGLE, and the more recent news of their headlining ParkLife festival this Summer, Chase and Status’s musical return is highly anticipated. After a series of teasers were published on their social media, the duo directed their fans to whatcamebefore , unveiling a plethora of forthcoming Summer festival dates.

The forthcoming album marks the inception point for the duo’s next phase; while on forced hiatus they also went back to square one with their live show. With What Came Before Chase & Status prepare to embark on the next chapter of their illustrious career as a seasoned act ignited by the same excitement

The unstoppable production powerhouse that is Paul Woolford aka Special Request is back with another of his frankly ridiculous run of releases. Never one to just drop a single tune, this year he has several albums on the way off the back of his superb re-imagining of the KLF's cult 'What Time Is Love?' and this Portals Box Set Project is one of them. It is a multi-part collection that "uses today's modern technology to bring you the sound of tomorrow" and each limited edition 12" comes with its own custom artwork by Nic Hamilton. As you should expect, these are all utterly monstrous bangers and this first part has the high-pressure techno bounce of 'Hectic' and 'Pure Potential' to welcome you to the Portal.

A side opens with a Jamalski & Empatysm duo, a Hardcore ode to the Underground.
Second tune by Lory PH is a banger with a loooong rise up drop.
On the flip it's a full side Uniko, with a super booster dancefloor and to finish... a very experimental Breakcore noisy Electro tune, in the pure underground tradition !!

This Capsule Corp 14 is a very very good one !!!

A love story tracking list with a true Free Party sound, a soul in the music. Or a music in the soul. A pure sound from nowhere.

7A Records are proud to present our deluxe reissue of Mungo Jerry’s Electronically Tested. Released on July 19th, the album has been remastered and expanded with four bonus tracks and features extensive liner notes including Ray Dorset’s own recollections.

Electronically Tested, Mungo Jerry’s second album, was first released in March 1971. Even the title clued in listeners that this was no ordinary record. As Ray Dorset reveals, “I came up with the name of the album. Durex used to have ‘electronically tested’ written on their packets. I thought that was quite the talking point, if people in the know said, ‘That’s the same name as on the packet of condoms!’ It was taboo to mention stuff like that.” Electronically Tested offered hints of the familiar via its inclusion of the UK #1 Hits “In the Summertime” and “Baby Jump,” but elsewhere, the album was pure, eclectic Mungo Jerry. Every side of Dorset’s talents as a singer, songwriter, and musician came to the fore on Electronically Tested, with his bandmates John Godfrey, Paul King, and Colin Earl–as well as producer Murray– joining him to create a joyful noise: “It’s got a lot of tracks that could have been singles in their own right. It was good for me to be able to play all that kind of stuff”. Mungo Jerry’s singular sound has been described as rock, folk, blues, country, good-time music, jug band music, pub rock, and gypsy rock–and that’s just a partial list. One can hear all of those elements in the disparate, timeless songs that form Electronically Tested. How would Mungo himself describe it? “It’s kind of rocky stuff. It’s got social commentary. It’s got all sorts of influences in there. It’s really best to say it’s Mungo Jerry music.” Electronically Tested originally peaked at # 14 on the U.K. Albums Chart the week of April 14, 1971.

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

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.

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.

Lionheart is the sixteenth studio album by English heavy metal band Saxon, released in 2004. The title is inspired from Richard the Lionheart, a 12th-century King of England. ""Beyond the Grave"" was released as a single with complementary video. Lionheart is a pure heavy metal album -- the Saxon that old-timers know and love. Such standouts as the album-opening ""Witchfinder General"" and ""Man and Machine"" would not sound out of place on such earlier classics as Denim & Leather and Power & the Glory. Lionheart is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

A new album is finally on Drivecom. A 2xLp full of new tracks recovered and rearrenged around 2022-23. No doubt the legacy of the past works are represented. Some arpeggios and melody lines will remember us to sonic landscapes from the “La Hora de las Máquinas” or “The Source” albums by Boris Divider but with a new and refreshed production sound, for sure this will be a must item for all the electro community and fans of the label.

The album opens with the intro track “The Way You Feel Me” a mix between electro and synthwave with a moog bass and arpegio reminiscent of some Arpanet’s “Wireless Internet” tracks. Then followed for the “Letters From A Sleeper” theme. As the track’s name reflects, it's a clear tribute to the synth era of David Harrow/Anne Clarke’s “Sleeper in Metropolis” just like a reply from a postnuclear future, with a big role carried out by the initial synthline. Then the first slow bpm track is for “Distante” where synthlines a la Tangerine Dream are crossed and mixed with vintage digital rhythm machine sounds and the pattern seems to be taken from those Dire Straits’ “Money for nothing” intro drum arrange in an infinite and repetitive way.

In the B Side “You Know What I Know” track is again showing an Arpanet-ish intro synthline followed by a sequential prophet's arpeggio which bring us back to the old “La hora de las máquinas” sound. Closing the first 12 inch is “Sin Mirar Atrás”. One of the most important tracks of the album for the author. A big dimensional and introspective track full of vintage synthlines and reverb. Time for “Your Light” track is again here. This song was already presented with its own reference on Drivecom. A future pure Electro classic which was announcing the album months before.

In the same side, we find another slow tempo theme called “Recursos Infinitos” an instrumental track which implements several synthlines that interlink themselves into an infnite Tangerine Dream’s soundtrack that serves as a little break to the power and darkness of “Cenital”. Electro rhythm patterns and dark arpeggio synthlines in the vibe of Vangelis’ Blade Runner are mixed in this cold dystopian agressive dancefloor track. Later we find the theme that gives name to the album: “ Memories From The Dust” a slower track which mixes sounds and melodies between “La Hora de las Máquinas“ and other 80's digital keyboard sounds. The last track is just an outro theme called “Out of Sync”. Its name is a clear statement of its own musical arrangement, synthlines are full out of timing and synchro, it was recorded in realtime from a modular synth to a digital device in one take.

“MARK” is the new solo record from acclaimed drummer and composer Mark Guiliana: an auditory manifestation of one of theworld’s most creative and innovative musical minds. Ever since the first day he picked up a pair of drum sticks, Mark Guiliana has been instinctively exploring and absorbing themusic and rhythms that have been ever-present in his life. Fast forward to the present day and he has earned a formidable reputation as a world-class drummer, composer and thinker at the forefront of contemporary jazz and beyond. Guiliana’sartistry defies convention, weaving together a musical output beyond jazz with the ultimate goal of creating compelling musical narratives.

His songs serve as a conduit for his relentless quest for creativity, striving to share his sonic visions withthe world in their most unadulterated form. Guiliana’s new album “MARK”, represents an introspective voyage into his creative depths. On the record, Mark performs soloon a wide array of devices; you can hear his quintessential grooves intermixed with intriguing percussive soundscapes,sublime tapestries of synthesisers and fragments of spoken word. “MARK” is an album that peels back the layers of Guiliana’sexperiences, reflections, and the wisdom gleaned from a life immersed in music. It transcends genres and defiescategorisation, floating in the boundless space of pure expression.

Through music and through life, Mark looks into the mirrorand asks eternal questions of identity and growth: who am I, where am I going and what do I stand for? This album invites listeners to share in Mark’s personal dialogue, offering a sanctuary where they can begin to untangle and examine themselves track by track. “MARK” is an exploration of new and uplifting musical territory, unrestricted by norms andfree from preconceived ideas or satisfying (but ultimately unfulfilling) genre expectations. It embodies the impact of Guiliana’sjourney, marking his evolution as an artist. This record echoes the spirit of freedom, the courage of inquiry, and the beauty of unfettered expression.

Pearlescent White Vinyl with A5 card inserts.

The first time we discovered Emanuel‘s voice was during the making of Pinnacle Sound‘s album Soul Medicine (BAT 007), it was in 2021. Some slaps leave a deep and indelible mark. We knew then that a new adventure was about to be born. Everything comes in time to those who wait, and what was supposed to happen happened: Emanuel contacted Bat Records for the realization of his new project. Nations Shall Know is the fruit of this meeting.

Emanuel & The Bionites are the many facets of one man. A diligent producer, it is with a selection of his best compositions that he knocks on the door of Bat Records to put his unique style on tape. The idea is clear, to produce a Showcase album: for each vocal, a dub mixed by the flagship duo Dub Shepherds. From a children’s song with soulful power in the introduction to “Arkitect“, to Africa as the central theme on “Imansion“, to the pure song of praise on “Jah Love“, through warm riddims carrying texts with apocalyptic resonances like on the title “Nations Shall Know”, there will be something for everyone.


And in discomix, ladies and gentlemen, following Emanuel‘s favourite format! Latest illustration of a rising figure of a certain Roots revival in Europe, this album will reconcile young zealous dubbers and old reggae backpackers.

a a1. Arkitect (Discomix) 8.25
[b] a2. Imansion (Discomix) [7.28]
[c] b1. Jah Love (Discomix) [8.26]
[7.42]

Repress on rosewood coloured vinyl. HOST is the name of a devil worshipping ministry, that in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends. Standing motionless and anonymous beneath the painted faces, hoods and robes which their sect demand, the six nameless ghouls of Ghost deliver litanies of sexually pulsating heavy rock music and romantic lyrics, that glorify and glamorise the disgusting and sacrilegious, with the simple intention to communicate a message of pure evil via the most effective device they can find - entertainment. In May 2010 Ghost were contracted to a UK based gramophone company called Rise Above Ltd, who swore an oath stating that they will assist the group in the task of spreading their musical blasphemies through formats such as Compact Discs, Long Playing Vinyl Records and Digital Downloading. The first full length Ghost album Opus Eponymous will be released in October 2010 and it is understood and agreed that Rise Above Ltd will invest money in areas such as magazine advertising and retail marketing and will employ the services of music publicity specialists in order to expose the music of Ghost to the wider public. Specific attention will be paid to targeting people (research suggests these are most likely to be adolescents) who have a void in their life, perhaps caused by some form of emotional trauma or upset, that can be filled by the music and philosophies of Ghost.

Joe Grushecky wuchs in der Kohlebergbaustadt Biddle,
Pittsburgh, auf, aber nachdem er die Beatles in der Ed
Sullivan Show gesehen hatte, hielt er bald eine Gitarre in
der Hand und sah eine Zukunft im Rock vor sich.
Tagsüber war er Sonderschullehrer, doch seine Iron City
Houserockers wurden von Cleveland International (Heimat
von Meat Loaf/Jim Steinman, Ronnie Spector, Ian Hunter)
unter Vertrag genommen. Die Reise der Houserockers
ging weiter über verschiedene Labels hinweg mit
Beiträgen von Hunter, Mick Ronson (David Bowie), "Little
Steven" Van Zandt und Bruce Springsteen.
Jetzt legen Joe und The Houserockers ihr erstes neues
Album seit sieben Jahren vor. Can't Outrun A Memory
enthält 13 Grushecky-Eigenkompositionen sowie eine
fulminante Coverversion des The Animals-Klassikers "We
Gotta Get Out Of This Place". 17 Tracks purer Rock 'n'
Roll, dargeboten von dem am härtesten arbeitenden
Mann und der Band in Pittsburgh. Can't Outrun A
Memory zeigt, dass Grushecky und seine Crew immer
noch die gleiche treibende Musik liefern können, wie sie
es seit Jahrzehnten tun.

Als LACRIMOSA 1994 ihr bahnbrechendes " Schakal
veröffentlichten, waren sie die erste Szene-Band, die
Gothic und Metal kombinierten, und dies in eine
klassische Orchestrierung einbetteten! Von der
Metal-Presse als zu düster und von der Gothic-Presse als
zu hart verrissen, fand sich der Band zunächst auf
einsamen Posten.
Zwei Jahre später waren LACRIMOSA Headliner der
Dark Winter Nights Festivals, der ersten Festival-Tour, die
Gothic- und Metal Bands wie THE GATHERING,
SENTENCED oder DREAMS OF SANITY auf einer
Bühne vereinten.
Der Rest ist Geschichte: Viele Bands, sowohl aus der
Metal- als auch aus der Gothic-Szene, folgten ihrem
Beispiel und Gothic-Metal, sowie Symphonic-Metal wurden
bis heute zu etablierten Musikstilen.
In der Zwischenzeit haben LACRIMOSA ihre
musikalischen Fähigkeiten weiterentwickelt und
perfektioniert, während sie seit mehr als 20 Jahren Shows
auf der ganzen Welt von Argentinien bis China spielen
und nun alles in diesem Meisterwerk zusammenführen:
Leidenschaft trifft auf Vollkommenheit, Schmerz trifft auf
Erlösung und Dunkelheit trifft auf das leitende Licht der
Liebe!
"Inferno" war 1995 mehr als ein neues Album, es ist ein
magisches Erlebnis purer Hingabe - und nun erstmals auf
zwei verschieden farbigen Doppel-LPs mit Booklet
erhältlich!

Als LACRIMOSA 1994 ihr bahnbrechendes " Schakal
veröffentlichten, waren sie die erste Szene-Band, die
Gothic und Metal kombinierten, und dies in eine
klassische Orchestrierung einbetteten! Von der
Metal-Presse als zu düster und von der Gothic-Presse als
zu hart verrissen, fand sich der Band zunächst auf
einsamen Posten.
Zwei Jahre später waren LACRIMOSA Headliner der
Dark Winter Nights Festivals, der ersten Festival-Tour, die
Gothic- und Metal Bands wie THE GATHERING,
SENTENCED oder DREAMS OF SANITY auf einer
Bühne vereinten.
Der Rest ist Geschichte: Viele Bands, sowohl aus der
Metal- als auch aus der Gothic-Szene, folgten ihrem
Beispiel und Gothic-Metal, sowie Symphonic-Metal wurden
bis heute zu etablierten Musikstilen.
In der Zwischenzeit haben LACRIMOSA ihre
musikalischen Fähigkeiten weiterentwickelt und
perfektioniert, während sie seit mehr als 20 Jahren Shows
auf der ganzen Welt von Argentinien bis China spielen
und nun alles in diesem Meisterwerk zusammenführen:
Leidenschaft trifft auf Vollkommenheit, Schmerz trifft auf
Erlösung und Dunkelheit trifft auf das leitende Licht der
Liebe!
"Inferno" war 1995 mehr als ein neues Album, es ist ein
magisches Erlebnis purer Hingabe - und nun erstmals auf
zwei verschieden farbigen Doppel-LPs mit Booklet
erhältlich!

Iconic early 90's Ibiza downtempo sound, “Daybreak” would have undoubtedly been the soundtrack to many sunrises in the Baleares. Simon Monday mixes the essential ingredients for bliss in perfect balance, a production so simple yet so effective, no rocket-science just pure intuition, honesty and sharp club sense. All elements coming together to make such an effortlessly powerful sounding instrumental house classic that will forever stand the test of time. Repacked in this new remastered re-issue with full artwork and with 2 new mixes: an extended 9 minute dub version with a new religious edge to it along with an additional re-drummed percussion heavy “bonus beats” for good measure. A no brainer buy-on-sight release for any proper record collection, just in time for the summer season.

When Jazz Meets Italo-Disco. Two Italian legends meet and deliver a unique contemporary jazz-house fusion! ''Stefano Cantini is a well-known saxophonist in the Italian and international jazz scene. In recent years he has focused on a project called Living Coltrane with Ares Tavolazzi, Francesco Maccianti and Piero Borri. Stefano and Maurizio Dami (Alexander Robotnick) had worked together for a while in the mid '80s and Stefano also played on GMM's album (''Love Supreme'' is the best known track). Since then, Stefano has focused totally on Jazz whilst Maurizio Dami produced World Music in the '90s and later on, under the artist name Alexander Robotnick, retrieved in 2000, turned to electronic music again, so the two musicians lost track of each other for 40 years. Robotnick says, ''In March 2023 I received a call from a club in Pisa, Cantiere San Bernardo. They asked me whether I could play live with Stefano ''Cocco'' Cantini on the occasion of a special event dedicated to Giovanotti Mondani Meccanici. I called him and he answered enthusiastically. Shortly before the concert we rehearsed at the Follonica Music School which he directs. He improvised with me on the bases of my live. We liked our rehearsal and a few days later, on June 2nd 2023, we played in Pisa with much success. So came the idea of doing something together. We decided to produce an EP featuring 3 tracks. On some of my bases Stefano created a harmonic texture to improvise on. I mainly took care of the arrangement and the production. But what we play is the result of improvisation, with hardly any editing. It's amazing how we managed to work together so smoothly after so many years, as if we had never stopped. We called this project 'Robocok'''. They are modal tracks with a techno approach and harmonically open. Almost a provocation to the staticity of contemporary dance. On ''Francocco'' and ''Frigiococco'' Stefano plays soprano sax whilst on ''Afrococco'' he plays alto. Guglielmo Bottin took the task of making a remix. He picked ''Francocco'' and skilfully turned it into a pure drums and piano groove. Perfect for the dancefloor.''

Going solo while still keeping intact his devotion to RS Produções, Nuno appears as a true heartbreaker. Silky, space soul, why not even risk the patented future r&b? But this music exists and manifests itself apart from the established production centres, the golden arches of hype edifices and synthetic promotion regurgitated by a thousand cloned fingers. "Sai Do Coração" is a very brave, romantic improbability, shying away from DJ bravado and dancefloor top speed. Through these grooves comes a pure distillation of love, an alchemical sublimatio resulting in the much sought-after "higher substance", a bright globe issuing rays of affection all around.

With love we most likely also buy into a degree of suffering, and though this is not at all the ID of the album, Nuno explicitly connects the two sentiments in "N'Dengue", a cathartic cold cut one grows to cherish intensely by the time it is over. It's a key moment, grief pours out, liberation achieved in the dance - "I will love, I will suffer, I will shout, I will dance". Flip to the other side for "Confusão No Ghetto", another gritty expression, a richly percussive, slow tempo observation of things gone wrong. All the rest in the album feels simple, direct and yet sophisticated like photosynthesis. Like the soil, through which geological becomes biological. Nuno whips up a variety of textures and flavours into the invisible form of Music, romantic fiction into action.

Gravity Loss will be the first EP released as part of Dsum's eagerly anticipated album, 'Water In The Moon.' Since his last album in 2022, he is pleased to announce a 12-track project focused purely on electro sounds, aiming between experimental ambient and Detroit techno, and which might be his most musical album to date.



To be released on his label Back Door, Dsum's fourth album has been years in the making and sees him go back to the sound of his electronic music roots. The album's inception traces back to the lockdown period of 2020, serving as a tribute to his introspective musical exploration and honoring the genesis of electronic music.



Featuring an analog sound loaded with lush pads, spatial synths, and solid raw 808 electro rhythms, tracks are brought together with a succession of short variations and instrumental snippets, contributing to a vision of what sound in outer space should be.



'Gravity Loss' alongside 'Double Distance' will be the two EPs bringing "Water In The Moon" to life, both to be released on vinyl as well as digital. This project's wax version sees ten tracks spread across 2x12" records releases in June and July, followed by the full album release in a digital format with extra exclusive tracks featuring all twelve songs in their original intended order.

This is a truly gem for darkwave collectors. Noah Renolds is the Australian behind Second Sight, a hidden project reminiscent of // Tense // , Valis or Ortrotasce. Pulsating beats, a peculiar use of short samples á la Wax Trax and amazing minimal synth compositions makes the perfect combo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid RED vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

F-BOMBS RECORDS has landed! A spin-off of the Foundations Series events that have been running across London the past 2+ years. Similarly to the Foundations Series events, the label will be a home of multi-genre artist releases with a nod to all the classic eras of UK dance music brought firmly up-to-date.

SWANKOUT has been moving at paces, riding the charts the last couple of years with releases for the likes of Hardcore Energy, Top Drawer Digital and Pete Cannon’s N4 Records - which saw his Swankout EP sell out of vinyl in just 24 hours! He’s also notably just remixed Shadow Child & Mark Archer’s “I know You” on UTTU’s sub-label Dancetrax and his forthcoming The Criminal Minds collab is gaining much hype.

Here Swankout demonstrates his diversity in taste and production style by lending his hand to UKG with the aptly named “The Speed Garage EP”. A 4-tracker that imbues classic speed garage, with rumbling basslines, weighty breakdowns, gunshots and a hint of jungle. Heads will note the reference of lead track Rude Bwoy Monty to the original jungle don R.B. Monty.


F-BOMBS001 - SWANKOUT - THE SPEED GARAGE EP

A1. RUDEBWOY MONTY - Moody build-up into an unforgettable breakdown of police sirens and rising tension, conjures up memories of early morning raves and raids across London and the greater M25 perimeter.

A2. LOVE COMMANDS - A steppy dancefloor bouncer, pure summer vibes for the love dove generation.

AA1. GUNSHOT - All the elements of a classic speed garage stomper. Warped bassline, pitched/chopped vocals, gunshots and a lot of attitude.

AA2. APPROACH PHASE - Fasten your seatbelts and assume approach positions. A track that invokes a sense of nostalgia for dancefloors long gone.

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

Triple edition, packaged in thick PVC cover with a foldable double sided poster and download card.

Celebrating the 20 year anniversary of highly revered Jazz collective, Build An Ark from Los Angeles, California. Formed in 2003 and releasing albums between 2004 and 2010, the Carlos Niño co-ordinated project included contributions from luminaries such Phil Ranelin, Big Black, Miguel Atwood-Ferguson, Adam Rudolph, Derf Reklaw (R.I.P.), Dexter Story, Dwight Trible, Gaby Hernandez, Mia Doi Todd, Munyungo Jackson, Nate Morgan (R.I.P.) Waberi Jordan, Avotcja & many more.

This set was compiled by band leader Carlos Niño with recordings from 2001 to 2008 that have previously been released on Kindred Spirits.

Gilles Peterson says "It's a beauty!"

After backing future Mike Oldfield producer Tom Newman and playing in psychedelic outfit July, percussionist/flutist Jon Field and guitarist Tony Duhig joined forces with bassist Glyn Havard to form experimental prog act Jade Warrior, their non-standard 1971 self-titled debut a work of excellence unjustly overlooked. Veering between acou-stic introspection, searing acid rock and world music interludes, with melody and percussion from Africa and India and nary a drumkit in sight, this pure musical gemstone of uncommon beauty is ripe for rediscovery, and this edition comes with a rare alternate of ‘Telephone Girl’ to boot. Mega!

‘SUNNY DAY’ PRO UNO presented by THE REGIME

Smooth loved-up and sun kissed soul, melting over jazzy road-trip and summertime vinyl dust. The Regime’s sophomore release is strictly vintage, playfully psychedelic, smothered in funky soul, and irrefutably ‘on the One’.

Spawned from 70s soul, jazz and funk, combined with the plethora of free time the covid pandemic demanded, THE REGIME’s jazzy-soul outfit PRO UNO rose from the ashes, dousing the public with a whiff of the good ol’ days, where music was real, authentic and pure. Their 70s aesthetic and full in house production combines sounds reminiscent of Al Green, Steely Dan, Bill Withers and America, to create a state of total nostalgia and peace love n harmony vibes. This iteration of the Funk Collective THE REGIME is their most exciting and tasteful project yet. Expanding on the original hip hop, funk niche, ‘SUNNY DAY’ in undeniably one for all, and indeed all for one.

Mental tribe, frequencies and pumpin trip !
Silver visual on a transparent vinyl. Pure beauty !