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Rare funky soul from the George Semper archives with In One Piece. Produced and featuring Rodney Franklin on jazzual swirling organ the vocal side features Cindy Jones whilst the unreleased instrumental on the flip is packed solid full of B Boy funk breakbeats galore. Limited edition hand-numbered to just 500 copies.

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.

Favorite Recordings presents an exclusive collaboration between French producer Bruno ‘Patchworks’ Hovart (Voilaaa, Mr President, Taggy Matcher, …) and Australian NYC-based rapper and poet Nelson Dialect. The two artists met two years ago after Nelson’s gig in Lyon and, of course, they discussed and seriously planned to collaborate one day, both having an everliving love for early nineties hip hop. Then came the quarantine and Covid-19 with Patchworks locked in Lyon, Nelson Dialect in NYC: it seemed to be the right time to do it. A few months later and they finally drop Blue Benz, the result of their long distance collaboration, coming as a beautiful 7inch filled with proper Jazz & Soul Hip Hop vibes.
On A side, « Blue Benz » reminds indeed the best feelings of the nineties hip-hop with its infectious slapped bass rhythm and subtle Rhodes chords, all fiiting perfectly with Nelson Dialect’s serious flow!
On B Side, « Jazzy Blue Benz » offers an alternate take on the same groove, focusing more on the electric guitar gentle slides with a more percussive beat and horns arrangements with a proper NYC jazz
feeling.
From Adelaide, Australia, Nelson Dialect now lives in New York working with Bronx label Red Apples 45 started by AG of DITC and Ray West. Making music since he was 16, he has received critical acclaim for his work with producer Must Volkoff and their most recent album Magnetism. Before moving to New York, Nelson toured extensively in Australia supporting some of the biggest international Hip Hop acts including Mobb Deep, Lupe Fiasco, Ghostface Killah, GZA, RZA, Pharoahe Monch and DJ Premier among many more. He just released a new album Opal Mind with French producer NuTone.

FREEDOM/FICTION REMIXES is a compilation of six experimental dance tracks featuring an international mix of well known and upcoming artists. Opening with a hybrid rhythmic statement by Berlin based multimedia artist Zoë Mc Pherson (founder of SFX-Label), to be followed by L.A.'s performance duo Pacoima Techno, who bring track 9 – Apparatus – of L Twills' recently released debut album Freedom/Fiction to the Drexciyan dancefloors of their self-proclaimed genre Casa Teka, Xiu Xiu ends side A with a disturbing but electrifyingly lynchian noise interpretation of Freedom/Fiction. Side B takes the Album's tunes to another night's sight: Automatic Subject gets a new coat by John Tejada's well known and intriguing techno-sound, Montreal based Tobias Rochman (one part of Pelada) turns M.A.S.T.E.R.S. into a techno-drum'n'bass version, whilst upcoming Berlin based producer and Dj Nomi Elektra finalizes the spectrum with an acid-house interpretation of L.A. Automatic Subject pt.2. Releasing on the 16thof October, the compilation is a limited edition of 300 12” Vinyls and can be ordered through Word&Sound. The Cover shows “Autoportrait”, a painting by Mexican artist Frieda Toranzo Jäger.






Automatic Subject pt2. Remix Nomi Elektra

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.

Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon. The album is mixed by Kiri Stensby and mastered by Heba Kadry, featuring photography by Daniel Sannwald.

The first of three volumes: stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming r&b.

Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonising Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of Hit The Road Jack and Wade In The Water.

Gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

Le nouvel album de Pascal Comelade, dont la réalisation court sur 3 ans , expose avec frénésie ses éternelles obsessions pour la Muzak dégénérée, la répétition combinée aux rhizomes, les guitares bruitistes,les trompettes en plastique, les boites de conserves,les pianos désaccordés (qui sonnent comme un orchestre),l’auto-réduction de jouets sonores, les orgues à piles et à distorsion intégrée,les déviations chromatiques, la mélodie degenre, le Riff conducteur et le grand trémolométaphysique. On y retrouve entre autre Richard Pinhas (pionnier de l’électronique en France et compagnon de route depuis 1974, des figures historiques du Bel Canto Orquestra, et pour la 1ère fois en 45 ans de production : la présence d’un quatuor à cordes et d’ un « assez long solo de piano ».

Pascal Comelade has been working for 3 years to achieve his brand new album. Not only it features all of his musical obsessions & trademarks , some long time partners and friends such as Richard Pinhas & members of his former backing band Bel Canto Orquestra but for the very time in 45 years, ladies and gentlemen there is “quite a long piano solo” and a string quartet in the album.

Following on from the success of Demon Records’ sold out ‘Special Stuff’ box set, we present the three anniversary specials from 2017, pressed on 3 sides of 180g “Snowglobe” vinyl, with the
fourth side an etching of Tubs and Edward trapped forever in a ‘Phantom Zone’ like state. The Anniversary specials tell the story of Benjamin discovering that his late Uncle Harvey is far
from dead and buried, Tubbs and Edward setting up shop in a derelict block of flats, Pauline reliving her past with her jobseekers and the continued woes of Geoff Tipps. Starring Mark Gatiss, Steve Pemberton and Reece Shearsmith, and featuring gatefold artwork
from horror maestro Graham Humphreys

The fantastic duo S/S (Silent Souls) have been signed for the new vinyl on Eclectic with four authentic tunes. Impressive kick drums and a dynamic synthesizer make up the main character of the obscure ''Everlasting EP''. As a result we are able to witness a true masterpiece of Techno.

After releases on Distinkkt, Blue Park, Woob.le Recordings
and a stream of free downloads and self releases Ali
Whitticase joins Motoring with an ear catching approach to
stripped back house music. The Birmingham based artist
has carved a distinctive sound pairing in§uences from
Europe’s minimalist expressions along with bold basslines
heard shaking Midlands dance §oors. Detective Sandy kicks
off the EP with crisp percussion, and a signature Whitticase
low end. Elements trail off into endless directions, subtly
teasing a hypnotic listen with a multitude of quirky sounds
held together by a seriously grooving bassline. Birmingham’s
Jordan Masters joins that side with a stripped back remix of
the title track, nimble hi-hats, shimmering percussive work
and §avours of minimal garage can be heard throughout, a
bouncing bassline delivers a rapid groove for a great balance
between ear engrosser and dance §oor mover. Jos of
EYA/Lonewolf records delivers his twist on Detective Sandy
for B1, a 90s inspired synth reigns through the entire
composition, sultry vocals, a darker rolling bassline and
sharp percussive elements all build into a suspenseful break,
where the listener is dropped back into the hypnotic twists
and commanding low end. (Premiered on Halycon Wax
08/10/2020) Saucy Thoughts rounds this EP off a Warm
and familiar atmosphere is paired with sublime skipping hi
hats which draw the ear. While Saucy Thoughts is more
chilled affair it still hits in all the right places, another bold
bassline builds throughout the track with deep accents
providing a bouncing groove before the track splits boldly
back into the §oating atmosphere. (Premiered on Rayzeh
02/10/2020)

Shining a light on women's role in the late 70's and 80's Hard Rock scene in Spain, "Ellas son Eléctricas" comes filled to the rafters with kick ass Spanish Metal, Hard Rock, AOR or Thrash, reviewing the story of unfairly ignored ladies of Spanish Metal. Most of these songs see a vinyl release for the very first time (only Malena y Belcebu's song had previously been released), coming straight from obscure demos. Comes with an extensive 32 pages booklet with plenty of photos, reviews, bios and other awesome shit. TRACKLIST SIDE A A1 MALENA Y BELCEBU - Destruccion (1982) A2 HURACAN - Huracan (1983) A3 NEUROSIS - Sobredosis (1983) A4 CASANDRA - Dejadle Ser Libre (1990) A5 AMNESIA - Wild Side (1991) SIDE 2 B1 MOLE - Alta Sociedad (1984) B2 PLEYADE - Reacciona (1985) B3 LAZY - Twice the Speed of Light (1989) B4 YIN YANG - Shout loud (1988) B5 WAR - Sin Acción (1989) B6 VIUDA NEGRA - Mis Noches Tienen R'n'R (1983)

Infernal Sounds welcomes Cluekid back to the fray, returning to release two of his most sought after dubs in 'Electric Avenue' & 'Horizontal'. The legendary producer throws you right back to the '08 days on the A side, taking you in with straight junglist sampling and a low-end wobble of a freshly set blamanche. 'Horizontal' displays the same sort of traits, but gives you an added dub-flex through the backdrop melody, and a low-end you'll feel right down in your stomach. It's an ultimate double XL.

Producer/drummer Teppo Mäkynen shares a new release with his celebrated alias The Stance Brothers. "On Top" is a solid gold Stance groover which appears on this We Jazz Records 7" vinyl single as two versions. On side A, the track is led by guitar and flute (the latter courtesy of Diamond T aka Timo Lassy) and the flip introduces a soul jazz scorcher with organ & vibes. Both cuts are ripe and ready to be enjoyed by DJs and home listeners alike.

"On Top" follows the remarkably successful Stance sides "Resolution Blue" and "Minor Minor", all part of the ongoing 7" series by the Helsinki-based We Jazz Records. The 7" comes with old school heat-pressed labels and a stylish generic brown sleeve.

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

Memoirs of a Geisha (2005) is the award winning drama film adaptation of the novel of the same name, produced by (a.o.) Steven Spielberg’s Amblin Entertainment. The original score and songs were composed and conducted by John Williams (the Star Wars & Indiana Jones trilogies, Jaws, Close Encounters of the Third Kind, and many more). The album won the Golden Globe Award for Best Original Score, BAFTA Award for Best Film Music and the Grammy Award for Best Score Soundtrack for Visual Media. It was also nominated for the Academy Award for Best Original Score.
Directed by Rob Marshall, the film stars Zhang Ziyi and Ken Watanabe, amongst others. The story revolves around a young girl who is sold by her family to an okiya, a geisha house. Her new family then sends her off to school to become a geisha. The story focuses on her struggle as a geisha to find love, while in the process making a lot of enemies. The film was nominated for and won numerous awards, including nominations for six Academy Awards, and eventually won three: Best Cinematography, Best Art Direction and Best Costume Design.

Available as a 15th anniversary edition of 1000 individually numbered copies on white vinyl. The package includes an insert and the D-side contains an etch.

We’re proud to welcome Robert Owens and Queer On Acid to Takeout, who present a ‘double-A side’ release. 2 sublime pieces of vocal-house and techno which will make the hairs stand up on the back of your neck.

Robert’s hypnotic vocals weave between QoA’s beautiful production with both tracks enticing remixes from none other than in demand Fear-E, Polymod and MASC (Mark Archer & Shadow Child).

The music does the talking here, and with a limited vinyl run (which excludes the MASC remix) to support a huge digital package, we’re excited to have such quality on the new label.

Enjoy !

Worldwide Award winners First Word Records are pleased to welcome back Souleance; a duo that have been releasing music with us for a decade now, and triumphantly returning to the fold with some brand new music for 2020.

This vinyl / digital EP, 'Les Mouches', is their first release for First Word since the acclaimed beat-tape 'French Cassette' from early last year.

Expanding on the original Normand-Parisian super-duo of Fulgeance and Soulist, the Souleance crew now includes Vincent Choquet on synths and Guillaume Rossel on drums as part of their live outfit. Whilst sonically their style remains unchanged, the formation into a full band sees the Souleance sound become bigger, more realised and more formidable than ever.

The title track 'Les Mouches' sets off the EP in a playful disco manner - a chugging bassline, assorted synthesisers, disco claps and a four-to-the-floor drum track, inspired by the likes of Larry Levan and Candido. Meaning "flies", Les Mouches was a legendary Manhattan club that existed around the era of Studio 54, and was infamously a hangout spot for Imelda Marcos. The club itself was named after a play by Jean-Paul Sartre.

Next up is the single 'Aquarelle' (meaning watercolours), which contains more layers than a Bob Ross painting. With its various elements splayed across its aural canvas, sprinkled with some subtle scratches, it's four minutes of funk presented in Souleance's inimitable way.

'The Bounce' follows and enters a more soulful side of the dance, dropping the tempo a touch and inviting in a huge bassline, squelchy keys and intermittent vocal hooks.

'Mont Maudit' takes more of a latin jazz direction with big drums and cymbals rocking throughout, whilst an infectious piano hook cruises throughout, and an ethereal gospel choir switches up the proceedings mid-way.

Things get deeper still with the epic broken beat-esque 'Maneuevers'. Crunchy rhodes dominate this slightly tweaked-out rhythm, a delectable piece of heads-down nujazz fused with Souleance's unmistakable funk once again.

'L'Opuleance' closes out this EP with some more traditional Souleance fare - the tempo a little more head-nod, this one is comprised of some deliciously wobbly bass, chopped samples and hefty breaks.

This EP is essentially a set of grooves marinated in nostalgia whilst managing to sound entirely current. Analogue synths, live bass, sleek cuts and intoxicating drums. This is another round of sure-shot dancefloor fire from our favourite French family.

Previous support has come from OkayPlayer, Bill Brewster, BBC 6 Music's Gilles Peterson, Tom Ravenscroft & Huey Morgan, and various DJs on Worldwide FM, NTS & Le Mellotron,

Society is shaped by its history, stories that have evolved over time and held to be true. Stories of the imagination, stories from the ill-informed, stories conjured by favored subjects, but all loosely wrapped in the truth. Systems such as morals, religion, politics, and a culture are powerful enough to influence the mind of one and the minds of many and therefore direct the evolution of the species. Unseen Forces is a conceptual work that dissects this idea. A collection of four songs cause the listener to re-examine not only what they believed to be real and true but also why. Side A dives head first into testing your belief system by introducing the first stage of influence - Disruption and Experimentation. Introducing a simple question into the belief system that cannot be answered and observing the result. The Disruptor - subtle but powerful making its point with eerie, off center synth lines, and synthesized drums. Driving a wedge between the listener and the comfort of familiarity. Dr. Blowfin's Experiment - a long time and highly revered classic previously released on SID, continues to re-evaluate beliefs with modifications to the original. The question of why is still unanswered. Beliefs are broken and chaos ensues. Side B begins to take direct the chaos with another classic - Crossphaze - injecting live funk and modulated filters with this flexible floor mover previously released on Accelerate. Crossing into another realm unfamiliar to the listener as new beliefs are formed. Deconstructing the Immortals - leaves the listener with no other choice but to eagerly leave their old world behind and everything they know in ruins. This offbeat and mesmerizing anthem makes the question of why unimportant, because the answer is what now.

Claptrap label boss returns with a four-track release ‘Big Pharma’.
Following on from this years releases by Longhair and Dr Valentines Claptrap are back with Vanity Project’s new release ‘Big Pharma’. Vanity Project has been managing Claptrap with his partner in crime Dr Valentines since their first 12" release in 2017 and dropped his first full release, a self titled EP in 2018. Since then he’s been DJing & performing live shows around the UK and has most recently dropped the City Elastic EP on London’s Midnight People.
Big Pharma features four spaced out original house cuts ready for the dance floor. A1, 'Letters and Numbers’ opens the EP with a driving groove, tight drums and rubbery synths. A2 the title track ‘Big Pharma’ brings a hint of acid alongside a deeper thumping house groove. B1 Grow Slow, kicks off the second side with a mellow down tempo sizzler, prime for those outdoor coastal parties. The final track Index brings the EP to a close with swirling euphoric synth lines and a dance floor moving stomp.

With the indeed adventurous Aventure EP on Couldn’t Care More Harmonious Thelonious further explores the depths of his unique vision, merging African rhythms, European harmonies and American minimalism: The title track keeps the same yet ever-changing lighthearted melody effortlessly meandering back and forth over electrified beats while Some Blue Beats is more on the minimalist side, as controlled as eccentric. Ta Ta Ta keeps it darker, with hypnotic percussions, organ chords noir and a big bass. Advanced music. Play loud.

DOWNFALL is the first album under the name SAITO created by Lena Saito, aka Galcid, and produced by accomplished analog synthesizer guru, Hisashi Saito, aka Lena’s husband. Having descended from a long line of Japanese sword-smiths, the industrial sound of smashing steel is embedded in Lena’s DNA and reflected in her music, however there are also refined, hypnotic tones showing a side with more finesse. The music itself is not scored and is predominantly improvised. Words and vocals are ad libbed as well. Sometimes the machines respond as if through telekinesis, altogether emitting a sound which can be categorized somewhere in the range between modern experimental dance music and something possibly making more sense to enlightened minds a thousand years in the future.




There is a new addition to the forge of talents of Mille Plateaux, a Japanese musician by the name of Saito whose album has been released on the label under the title of Downfall. After a whole series of releases under the signature tag clicks & cuts, there comes out a work, much more suited for a dance hall, that is different in terms of the genre from everything that has been published so far.
Like a bucket of ice-cold water poured over the head, erratic agressive hardcore rhythms pour all over the audience in the first track, interrupted only by grinding noises and minimalistic technogenic clicks.
Downfall won't fail to infect even the most experienced music connaisseur with its out-of-control energy, while offering a wide range of techniques: at times, robotic voices, one second long fragments of looped melodies and many other audio gimmicks.
Lena Saito (that is the author's name) is not afraid of conducting experiments in her chemical laboratory, freely mixing sound reagents without taking any precautions. It feels like, this new chemical substance, that she has been working on so thoroughly, contains quite a long list of ingredients, although its main component is the various rhythm breaks.
The synthesizer part of Red Hammer sounds in the best traditions of the acid style, and the rhythm section is akin to African tribal dances of the future. Downfall is absolutely unrelenting in its concept.
The melody of the composition Nucleosome is a little bit like the melancholic IDM of the 00s, finding itself secondary to the dominating, yet again convoluted rhythmical web meticulously woven by Saito.
This album can be definitely named as a big contender aspiring to start a new golden era of Mille Plateaux, and Saito as the hidden treasure of the label that can challenge even the veterans for the right to be the headliner.

The Great Dismal, NOTHING’s new full-length album explores existentialist themes of isolation, extinction, and human behavior in the face of 2020’s vast wasteland. Closing in on the band’s ten-year mark, frontman Domenic Palermo finds himself stringing together songs of misanthropic tales of Philadelphia with a refined and refreshed take on NOTHING's classic sound. “The Great Dismal refers to a swamp, a brilliant natural trap where survival is custom fit to its inhabitants,” Palermo states. “The nature of its beautiful, but taxing environment and harsh conditions can’t ever really be shaken or forgotten too easily.” The ever progressive NOTHING keep true to their chaotic outlook on life, keeping a keen eye to avoid repetition. With a radical cast of talented contributors such as harpist Mary Lattimore, classical musician Shelley Weiss, and singer/songwriter/producer Alex G., The Great Dismal showcases yet another essential side of the band’s trademark American Post-Shoegaze.

MD Records, a small independent label started in 2018, are pleased to present the debut single from “Lost in Rio” on the new MD Gold series imprint.
Their debut single which will be out in August, ‘Little Piece of Heaven’ is a festival summer feel good slice of Latin pop featuring energetic musicianship and the vocals talents of Highland based Miss T.It is also something the guys are, rightly, very proud of.
The vinyl release of this single is presented as a double A side as both sides are phenomenal, with the remix bringing a NYC disco mix, designed purely for dancefloors with thumping bass, chic style guitars and soaring strings, think Studio 54 and the heady crossover soul of Philly meeting the early disco of New York.
Early plays by several funk and soul radio stations (Totally Wired Radio and FACE radio) has attracted interest from DJs keen to feedback with so many positive vibes and offers to collaborate on future songs.
Who Are Lost In Rio:
The band herald from the Highlands of Scotland. Inverness provides the base for a collection of musicians that have made their home here, whether they originated from Manchester, Melbourne, Malaysia or indeed the Highlands! The band has taken the funk and soul sound from their former incarnation, The Leonard Jones Potential (LJP) who were BBC6 Craig Charles Funk & Soul Show favourites with whom they undertook several live interviews on the show with Craig and also a popular live session as well as a number of joint live dates at Kendal Calling Festival, Inverness and Aberdeen. The guys were also asked to undertake some prestigious live work with world renowned DJ Carl Cox, on the bill at his personal request and alongside other acts such as Brand New Heavies, Danny Rampling, Gilles Peterson and of course, Carl himself.
The songwriting team behind all this - Anthony, Andy, Neil and Ruairi quickly set up Lost in Rio upon the demise of The LJP and began collaborating with a number of singers and a rapper (MC Butterscotch). They developed their sound into a smaller, tighter, groove based soul vibe.
From 2017 the grouped honed their sound with a number of live appearances across the Highlands including festivals and supporting acts such as Smoove and Turrell. Utilising guitars, bass, drums, Hammond and percussion, the guys set about leaning on key influences - Acid Jazz Corduroy and Brand New Heavies, dynamite disco guys Chic, Northern Soul, rare soul and a whole plethora of funky hip hop acts - The Allergies, The Herbaliser and Tribe called Quest to write a lot of new tunes. Latin influence comes to the fore in much of the groups new sound, particularly highlighting the impressive skills of Aussie percussionist Andy Pearce.
Live, the band have a good reputation and have been much sought after by promoters. Audiences have loved the tight rhythmic groove that these guys produce, meaning gigs are full of dancing and long encores. Recently the guys have been concentrating on driving up the already high standard of songwriting and production. This hard working band has plenty of material they are eager to share with those ears who are partial to quality funk, soul and pop and are looking for the right partners to work with and spread the message. Future releases will seek to exploit the wordsmith alacrity of MC Butterscotch who as well as Lost in Rio, also features as part of Scottish award winning hip hop act, Spring Break.
MD Records specialise in Unreleased soul and funk on its Yellow Series, contemporary soul and funk artists on the Gold Series, re-issue soul and funk on the Black Series and Missouri Soul and Blues via its Blue Lotus UK imprint.

London duo Andy Clutterbuck and James Hatcher – better known as HONNE – have cultivated a huge and fiercely dedicated global fan base since the release of their critically-acclaimed debut LP, ‘Warm on a Cold Night’, in 2016. Boasting over 150 sold-out shows outside of the UK, collaborations with everyone from Tom Misch to BTS and over 1.4 billion global streams, their music is deeply emotive; from the glistening, sugar-coated highs of international hit ‘Day 1’, to the heartache and angst played out on ‘Sometimes’ – both standout cuts from 2018’s sophomore record, ‘Love Me / Love Me Not’. Laying themselves bare in their songs, HONNE are hyper-connected with fans both in the UK and all over the world – in 2018 alone, they played a sold-out Brixton Academy for the first time, embarked on an extensive, 26-date US headline tour and saw ‘Warm on a Cold Night’ officially certified as 6x Platinum in South Korea.

Running the anything goes travelling warehouse rave "Fusion mes Couilles"
Emma DJ and Ishaq have created a unique situation with their party series in Paris. The two have been able to do what not many have, which is create a party environment strictly on their own terms, with no outside influence, no pandering to agents or the trends of the day and no outside money rearing its head trying to influence. This endeavor is no small feat considering the oversaturated and bland nitelife climate over the last years in the city. The result of their hard work, has been a large scale dedicated fanbase that trust them, hands down.

Over these years both Emma DJ and Ishaq had been working independently on their own productions as well, with Emma DJ recently releasing a slew of tapes in a hyperactive, machine gun manner, while Ishaq makes his first appearance on wax here.
On the "Fusion" split lp we get four tracks from Emma DJ on the a-side and four tracks from Ishaq on the b-side...both artists bring their unique takes on modern dance music on each side of the record from gnarled acid, to tweaked IDM, to broken techno, or ADD chopped guitar loop beats, this is a truly unique release documenting the sound of the top crew in the Paris underground.
Artwork licensed from NYC street photographer Richard Sandler

White Vinyl Pressing!
Diffrent Music, So Far.. Speaks for itself really, this brand new vinyl series brings together a handful of carefully selected tracks that until now have been available only as digital downloads. This is the first offering, and a whole lot of love has gone into making this product a real milestone for the label.
The A side, titled "Foundations" brings together two of the original Diffrent Music artists, with their debut single's title tracks; Jekyll - "Drainpipe" slimy and clogged up with bass as you can imagine, now remastered and cut into the analogue realm, along with Arkaik's 2010 "Stress Relief" which has always been way ahead of its time. The flip-side, "Movements", carries two slightly newer productions, Dexta & Hyroglifics "Boxgroove" which caused a lot of damage earlier in 2014 now sounding double thick cut deep into the vinyl grooves, the last and by no means least track is Fearful's 2013 "Tongues" - Not only was this one of the most popular track's that'd ever seen the day of light, but it's also one of the most experimental yet dance-floor jams we have to offer. Everyone involved is truly proud of this record and we all hope you enjoy it as much as we have over the past 4 years or so!

Selva Discos keeps broadening horizons. Its next release celebrates the start of a new series called Novaterra, this time focused on showcasing the music of contemporary Brazilian artists. First up is Zopelar, known not only for his work with the anarchic-techno-punk act Teto Preto but also for the project My Girlfriend and his solo LP, both on Apron Records.

Novaterra vol. 1 by Zopelar is a mini-LP featuring 6 tracks that range from the introversion to the extraversion. In one hand you have an A-side banger like "Be Together", with its addictive looped-sample, and in the other, you get the laidback interlude of "Modo Avião", which sounds like one of those MF Doom's instrumentals – and between both, you will find a whole spectrum of music where you can experience the duel between super crispy beats (a signature in Zopelar's work) and the richness of melodies and harmonies that he's able to knit stitch close to perfection.

The opener "Livre" has a great deep house vibe that makes you think of Prescription Records and Jazzanova, featuring a catchy bossa ad-lib. "NOX" is a Hammond-led tune with a groove bassline and lead that gets you going in no time as if Cesar Camargo Mariano and Larry Young toured together in the late 70's, like, a big, fat jazz-funk tune. "Dias Tensos" is a nervous drum workout led by an automat Tony Williams as if jamming in a 16-bit version of The Tony Williams Lifetime. And to wrap things up, "Boogie da Paz" is one of those perfect comedown tunes – a true tearjerker that works its melody line like a good pill works your serotonin, making it one of those tracks that you keep under your sleeve for those special 6 AM moments on a dancefloor.

The artwork is courtesy of Colletivo Design Studio in Sao Paulo.

LTD release

Collabs and acid labs !

Progressives bangers on the A-side... digging more mental on the flip...

Electronica duo Echaskech have been part of the Balkan Vinyl family since the very first releases back in 2010, but this is their debut solo outing. A mini-album of deep space electronica and cosmic ambience. A soundtrack across our solar system and interstellar travel onwards for 27 million light years.

Available on a limited edition of 30 hand-numbered cassettes.


A1: Dawn Over The Red Planet
A2: Kuiper Belt Life Support
A3: Andromeda
A4: Oort Cloud
A5: Machine Code
B1: Into Eta Carinae
B2: Disorder
B3: Pluto At Night
B4: Onset Of Panic
B5: Escape From Tau Ceti
B6: Messier 63

Black Truffle is proud to announce the first vinyl reissue of Rafael Toral’s Aeriola Frequency, originally released by Perdition Plastics in 1998. Toral made his name in the world of mid-90’s experimental electronics with two releases, Sound Mind Sound Body (1994) and Wave Field (1995), both now recognised as classics and reissued on vinyl by Drag City, which saw him exploring the potential of electric guitar and pedals to immerse the listener in seemingly endless waves of sustained tones. On Wave Field, inspired by the striking resonance effects he experienced during a Buzzcocks gig with bad acoustics, he achieved a synthesis—often imitated but never bettered—of rock guitar, Ambient, and the acoustic exploration of Alvin Lucier, a kind of "liquid, abstract flux of rock sound".

On Aeriola Frequency, Toral continued the explorations of Wave Field but dropped the guitar, creating a series of extended pieces using only a simple feedback loop designed to work with pure electronic resonance. The result is far more delicate than Wave Field, a steady but unstable flow of filtered tones that continually reorder themselves into new forms. On both the LP’s sides, the tones, like growing plants, imperceptibly shift from drifting freely in ambient space to weaving strangely natural melodic patterns, as the loops unfold and the resonance gently outlines recurring rhythmic shapes.

The overall effect is strikingly organic, as David Toop noted in the liner notes included in the original release (and reprinted in this reissue): “A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering.”
A classic of the non-academic approach to electronics that flourished in the 1990s— and a big influence at the time on Black Truffle head honcho Oren Ambarchi—Aeriola Frequency ushers listeners into an endlessly fascinating world of gliding tones and shifting details that they might never want to leave.

- Recorded at Noise Precision, Portugal, December 1997 and April 1998. Remastered by Rafael Toral in 2020.
- Liner notes by David Toop and Rafael Toral.

Birds are singing, a soft female voice embraces the stars, then the funk hits the fan: the second album of mysterious Japanese singer Nadja haunts immediately and marks one of the most exquisite reissues in the ever-growing catalogue of Studio Mule. Originally released in 1989 as promo only CD on the Japanese label Polystar, the album features some of the finest eighties pop funk fusion arrangements of the era. A deeply enchanting lost gem, that gets listeners instantly into heavy repeat addiction.

All ten songs are arranged by a group of grandmasters of their art. Japanese saxophonist, composer and music producer Yasuaki Shimizu, man behind the electronic ambient fusion classic “Kakashi”, was in charge for tunes like “Wac-Wack”, a neon light funk pop song, full of soft big city eroticism, ultra-slick synth lines and real funkateer explosions. It’s followed by “夢のとりこ”, the most stirring pop tune on the album, that originally was written by French composer, multi-instrumentalist, actor and singer Areski Belkacem, known for his and long-time collaborations with French avantgarde singer Brigitte Fontaine. Shimizu transformed the song into a low hanging funk jewel, with a cool rolling bassline, dub depth and synths that cry for cosmic help. Above all Nadja signs with a sexy chill, that somehow could only emerge in the 1980ees, when the cold war even made pop music real cool. The follow up is named “真珠のように”, features again music by Belkacem, this time transformed by Shimizu into electronic erotic pop - dreamy, witchy and precisely musical composed.

The B-Side opens with “Velvet Rain”, a funky urban boogie composition by Japanese keyboard player, composer and producer Akira Inoue, enlarged with glimmer camp kitsch, that immediately puts a smile on the listeners faces. It gets followed by “Paradise Catcher”, a soft pop tune with longing string and horn sections, arranged by legendary Jamaican rhythm and production duo Sly & Robbie. It somehow marks one of the strangest songs in their longstanding career, as it is largely minimal orchestral but yet super tight when it comes down to the rhythmic magnitudes. The next tune, “Private Tripper”, also stays soulful, funky and horn driven. Always pleasing the super tight, yet feathery voice of Nadja, that is dancing about boogie grooves and illuminating melodies with a seducing tragical coolness. Finally the album ends with a stylistic break in the overall musical atmosphere. It comes from Japanese musician Hiroaki Goto, it’s called “地図をずっと南へ”and features Afro-Brasilian voodoo rhythms, pan flutes, cosmic piano notes and Nadja, singing like a rain forest sorceress from outer space.

Ten arrangements by a bunch of high-grade arrangers, that all left Nadja’s voice enough space to widespread her talent as a supremely seducing singer, who wrote all lyrics, vocals and chorus by herself in order to present her touching vocal class in a vivid, bewitching timeless style. Come in and get ensnared!

So..it's time to make some noise about this release! Rawax is happy to welcome Riccardo & Saverio Celestri to the RAWAX Family!

Her great collab on the A-side aka Planeters sounds like a fantastic journey thru time & space. The B. side belongs to Saverio who gave us 2 massive tracks on top

10 Years of Dame-Music Vol. 2. To celebrate the 10th birthday of her label, Bloody Mary has prepared a two-part vinyl series, handpicking seven of favourite artists to join her on the label.

Both parts in this series feature label favourites as well as new additions making their debut on the label.

Volume 2 sees label debuts from Lady Starlight, DeFeKT and Schacke. Lady Starlight, a renowned live artist and respected producer, delivers the A1 'c one three', and is joined on the A-side by Cardopusher, who returns to Dame-Music following his collaboration with label boss Bloody Mary on the Conformity Kills EP earlier this year.

The B-side starts with Irish artist DeFeKT and his track 'Sini Star', before Copenhagen’s Schacke closes it out with the hypnotic 'Lowest Of Highs'.

Four hard-hitting techno and acid cuts made for the floor!

Marian Himburg, the artist known as Causa, believes that less is more, both in his productions and his release schedule. With a lean and heavy catalogue built from releases on labels like Crucial Recordings, Infernal Sounds, and Artikal Music UK, Causa is as focused on producing quality dubplate ammo as he is with proper releases. His second chapter for ZamZam is exactly what you’d hope: heavy 140 wares for dark dances- soon may they return!!

"Hiss" is nothing if not cinematic: a queasy melody circling in a dying orbit until it crashes into its first monstrous drop. Led by a squelching, lumbering single-note bassline that crushes like an unstoppable beast freed from its chains, no-nonsense kick-snare power and a steadily rising hum increase our fight-or-flight response until the very end.

Causa says the tune was created after “re-listening to my very first couple of beats and getting inspired by how little I cared about certain placements and how I worked drums at that time… I didn’t follow any rules - because I didn’t know any back then."

“Palms” is the perfect companion, another 140 stormer with drums seemingly built from white noise and distortion, funked-up by syncopated brush hats & an utterly swarming bassline. Add paranoid textures and a bizarre monosyllabic vocal pitched this way and that, and you have another dystopian side to fall in love with in the bunker or the ball.

After two years since her debut full-length release, Grand River presents her second album “Blink A Few Times To Clear Your Eyes” on Editions Mego. The 8 track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her 2xLP “Pineapple”, released on Spazio Disponibile in 2018.

“Blink A Few Times To Clear Your Eyes” expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives.

The album opens with the track “Side Lengths”, a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée’s own modified voice in the closing track “All There Now”.

Recorded primarily at her home base in Berlin, Grand River’s music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language.

Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.

17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.

Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.

Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul.

Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.

Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.

Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.

And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.

The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.

Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.

German funk stalwarts The Mighty Mocambos unleash another sample of their explosive live energy, a 7" of two brand new tunes recorded straight to 8-track tapeduring JAM PDM! Breakdance Battle at Fabrik Potsdam on February 1st 2020.

"Arabesque Breakin' Suite" on side A is an original instrumental medley written for the occasion and delivers the raw, heavyweight sound that has made The Mighty Mocambos a staple of b-boy battles the world over. Side B is a cover of the Axel F Theme from Beverly Hills Cop, taking the tune from 80s synth-heavy electro-pop to soulful, tropical-flavored b-boy funk.

In these peculiar times without concerts, these live recordings are a real labor of love that capture the special vibes of a Mighty Mocambos performance while remaining suitable for DJ-use and enjoyable to the dedicated listener.

The 45 comes in a beautiful picture sleeve - a reproduction of the tape box used for the recording with a b/w photo from the event.

Remastered / New Cuts

Breakfast jam for those who din't sleep yet. A real morning ambience on the A-side... Melting the oldschool hardcore to the Hardtechno tribe. B-sides stands a more solid hardtek-core. Second venue for this label. And second success !

When it comes to funky boogaloo Hammond B3 7"s George & the Highlanders' only 45RPM single release is certainly one of the best. Both sides are absolutely stunning and since original copies are quite hard to find (especially in clean condition) this reissue is a great one for all mod-soul-jazz DJs out there.

In demand 7 inch sees a limited edition in translucent yellow vinyl.

Regarding the album: "This has not been off the decks since I first got it and have been hammering it to death on the show. One of the ESSENTIAL albums of 2011. Perfect in every sense and totally irresistable" Craig Charles (BBC 6Music) Two cover versions taken from the essential album GITANO REAL. I Believe in Miracles is an overwhelming take on the Jackson Sisters classic in a rumba funk fashion. Party stomper!! And on the other side, a longer trip departing from McFadden and Whitehead's seminal Ain't Non Stoping Us Now and touching the revered latin disco version of Charanga 76, only to end up as a fabulous clap-driven rumba stormer. Two very necessary sun-soaked tunes for any self-respecting dj on neat black vinyl. And yes, it's a limited edition!