Cerca:side on

This new opus marks a major comeback for Samuel Sanders, who made a name for himself in the 2000s with his first productions alongside Max Walder on Ghoststyle, whose track "Cyclone" was covered by big names such as Ken Iishi, Marco Bailey, Frank Biazzi, Technasia, Marco Carola ... but also on the Invasion label with "Dependance" (N.E.W.S label) and among others on the Kevlar "Illusion" label, where this EP received great support from Dave Clarke, Carl Cox, Chris Liebing ... He also produced alongside Manu Kenton on the Kentek, Frenchtek and Fanatix labels. With N.O.B.A, he returned to production, choosing Vibes Addikt for his comeback.

The A-side "Do You Like ... 2024" is a remake of a track he and N.O.B.A created in 2008 on Reaktion, in a much more Hard Techno version with a spirit all its own.
Side B is dedicated to Samuel Sanders himself and presents his new productions:
B1 "Desolation" a hypnotic spirit with a touch of Acid on the cover for lovers of this spirit
The B2 "Don't Be Afraid" is close to Hard Techno with a more clubby style for fans of this style.

Potapanje Brodova, Hrvatski for “sinking ships”, is a follow-up to Robert’s intricate 2020 album Finomehanika “wherein piano, field recordings and synths are made indistinguishable from one another”, as described by The Wire.

The A-side on Potapanje Brodova is compiled and reworked from a soundtrack for an installation of the same name in Rijeka in 2005, about the Croatian port city’s post-war industrial collapse. The original hour-long soundtrack played on a loop during the month-long exhibition, and today resides on a USB stick housed in a rusty steel case with silver ship engraving—a limited edition of 1 copy that is now the property of Rijeka's Museum of Contemporary Arts.

The B-side offers a monumental 25-minute prepared piano improv piece recorded in 2004, followed by Hodnik, a track from Finomehanika sessions.

Elaine Brown has led a life of distinction. Appointed in August 1974 by Huey Newton from his exile in Cuba to be the one and only female leader of the Black Panther Party, Elaine has pursued a career of community service that continues to this day. But her debut 1969 album Seize the Time leaves one wondering what would have happened had she not put her musical career second. She was first discovered as a performer while singing Thomas Dorsey’s “Precious Lord” at the funeral service for Panther Bunchy Carter. Afterwards, Panther’s Chief of Staff David Hilliard had her audition for him accompanying herself on piano. That session led to her composition “The Meeting” (about an encounter with Eldridge Cleaver) being adopted as the Black Panther Party National Anthem, and an album was commissioned. Elaine enlisted Los Angeles jazz legend Horace Tapscott and his PanAfrikan Peoples Arkestra to arrange and back her, and Seize the Time was born—which the Black Panther Party’s newspaper called “the first songs of the American revolution.” Blending influences ranging from Bob Dylan to classical, and anchored by Elaine’s powerful delivery of her deeply-felt lyrics, this album will stir your blood whether you agree with its politics or not. Now, with the cooperation of Elaine Brown herself, Seize the Time sees its first-ever American LP reissue, complete with original “uni-pak” packaging featuring lyrics and liner notes, plus an insert with new liner notes by Pat Thomas, author of Listen Whitey! The Sounds of Black Power 1965-1975.Limited run of 950 copies in deep purple vinyl. SIDE ONE 1. Seize the Time 2. The Panther 3. And All Stood By 4. The End of Silence 5. The Meeting (The Black Panther Party National Anthem SIDE TWO 1. Very Black Man 2. Take It Away 3. One Time 4. Assassination 5. Poppa’s Come Home SELLING POINTS • Elaine Brown Is an Activist First and Musician Second • But Her 1969 Debut Seize the Time Shows Things Could Have Gone the Other Way • She Was Appointed in 1974 by Huey Newton from His Exile in Cuba to Be the One and Only Female Head of The Black Panther Party • She Has Pursued a Career in Community Service That Continues to This Day • First Discovered as a Performer When Singing Thomas Dorsey’s “Precious Lord” at the Funeral for Panther Bunchy Carter • Then Panther’s Chief of Staff David Hilliard Had Her Audition for Him Accompanying Herself on Piano • An Album Was Commissioned, and Brown’s “The Meeting” (About an Encounter with Eldridge Cleaver) Became the Black Panther Party National Anthem • Seize the Time Was Arranged by L.A. Jazz Legend Horace Tapscott, and Features His Pan-Afrikan Peoples Arkestra • A Unique Record Featuring Influences Ranging from Dylan to Classical, All Anchored by Brown’s Impassioned Singing and Deeply-Felt Lyrics • First-Ever American LP Reissue • Includes Original Uni-Pak Jacket with Notes and Lyrics • Also Contains Insert with Notes by Pat Thomas, Author of Listen Whitey! The Sounds of Black Power 1965-1975 • Deep Purple Vinyl Pressing • Limited to 950 Copes • This Release of Seize the Time Is Fully Authorized by Elaine Brown Herself STREET DATE: MAY 3, 2024 (Limited Deep Purple Vinyl Edition) iBarcoder Trial ELAINE BROWN BLACK PANTHER PARTY BLACK PANTHER PARTY ELAINE BROWN VAULT

-This is MIA's first single since the hit song "Love Me Right".
-"Love Me Right" has sold 3000 physical copies and garnered over 5 million online streams to date.
-MIA a.k.a. Honey Deux, is known as the Queen of Miami Boogie.
-Crime Of Passion music video release with street date.
-Pressed on black vinyl. Paper inner sleeve in blank die-cut jacket.
MIA is back with her first single since “Love Me Right”. Her 2020 Gil Masuda-produced hit song has sold 3000 7” copies and garnered over 5 million online streams so far. It has become a bonafide funk anthem by top DJs in the West Coast and earned her an invitation to play at Funk Freaks parties and Hittin’ Switches festival. The song even made its way into the intro of a Silk Sonic Radio episode.
Side A’s “Crime of Passion” reveals a sultry story around compassion. The song’s deep bass and groove pick up where “Love Me Right” left off. The up-tempo 80s-tinged boogie of producer Gil Masuda provides the backdrop for the Miami-born singer’s unmistakably silky voice. “Am I your shining diamond, baby, kryptonite?” It’s a line sure to lure you to the dance floor.
Side B’s “Love Bug” is a chill roller skating jam with lush Rhodes chords and warm synth tones that will appeal to anyone who’s ever been in love.

Repress.
The German boogie compilation 'Boogie on the Mainline' presents a selection of 10 rare disco tracks from Germany plus one more tune from Austria, all of them, originally released between 1980 and 1987. Check!
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The fully licenced album contains little known tunes by groups like Imagination (which you can also see on the cover of the LP), Squish, Upstairs, The Poptown Syndicate and more. As the Boogie-ish post-disco side of German music history still basically remains undiscovered as of yet, 'Boogie On The Mainline' hopefully will shed some light again on 11 rare gems that were mainly published on small or private labels.

CROWNSHIFT – born as a longtime idea of four friends, is a new high standing metal act from Finland. The members familiar from the ranks of Finland’s finest export titans like Nightwish, Children Of Bodom & Wintersun, are thrilled to start a new journey together and spread their authentic sonic print across the globe. Covering seamlessly a diversity of styles, the quartet has a unique signature on their modern sound. Hypnotizing melodies paired with ripping riffs, from moody mid-tempo songs to a fierce prog-death-metal opus, CROWNSHIFT was born to be master of all trades. The debut album is a showcase of relentless ambition that will take you through a wide musical spectrum with no compromises or boundaries, assuring the band is on a quest of putting a massive mark on the map.

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THE M.V.P.'s burst into life on the Northern Soul scene back in 1975 courtesy of Blackpool Mecca DJ Ian Levine and has long since divided opinion. Is it pop, is it soul, are they black, are they white, etc etc. Well, it's a rock record from 1971 and has nothing to do with soul... but everything to do with Northern Soul! It packed the floor at the Highland Room and was adopted as a Wigan Casino anthem and immortalized by Tony Palmer in his 1977 Granada TV documentary This England. It was reissued by UK Buddah, due to popular demand, driven in no small part by the TV show and its 20 million viewers. Now, some 40 years on, we present the iconic track, both stereo and mono mixes, as mastered at the time by Bell Sound's senior engineer Joe Breschie.

SALES POINTS:
All time Northern Soul Classics - Two fabulous sides
Massive appeal to ALL Northern Soul fans
As featured in the film Northern Soul

His first album, critically acclaimed and certified with a platinum single, places the French producer as a key player on the independent beatmaking scene.

Jonah Matranga has been making music for over 30 years. A prolific artist, he has become an enduring institution in the scene with a devoted fan base, rich lineage, and varied music career. Jonah has often straddled the line between the underground and mainstream. He’s worked with indie labels like Jade Tree and majors such as Atlantic, having fronted the bands FAR, NEW END ORIGINAL, and GRATITUDE. His music has influenced bands from Deftones to Blink-182, and he was there for emo and post-hardcore giants in their earliest beginnings–taking bands such as Thursday and Dashboard Confessional on tour. Simply put, the scene cannot be separated from Jonah’s art. Jonah has always written from the heart and performed in an intimate way that few others have accomplished. From basements to massive festivals, he brings the same energy to them all: raw honesty and an ability to make every show unique and personal. This is most apparent in Jonah’s solo and collaborative project ONELINEDRAWING. Jonah’s solo performance has always been about connecting with fans in an intimate setting, where they often perform with only a guitar and R2D2 sidekick. Sketchbook is the latest release from ONELINEDRAWING, featuring a collection of songs from Jonah’s early solo years, 1999 - 2001, completely remastered for vinyl. The album features originals and renditions of the likes of 7 Seconds and Jawbox, as well as the Sensefield split honoring the late Jon Bunch (Sense Field / Further Seems Forever). The LP also includes liner notes and zine by Norman Brannon (Texas is the Reason / New End Original). Sketchbook exists as both a time capsule and thank you letter to fans and music itself–a combination of the period in which Jonah first embarked on his solo journey and a celebration of the vitality that music and community not only affords him but all of us. Available in the EU/UK from Thirty Something Records and in the US from Iodine Recordings. Genre: Alternative / Emo

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"All I Want Is Your Love" is an up-tempo R&B ballad with a strong hook-line and catchy chorus, an unreleased track from the recording sessions of Alex Puddu's album "Discotheque" featuring Rodney Stith on vocals, a talented American soul vocalist whose style reminds of Bobby Womack and The Temptations' David Ruffin. The flip side contains the full version of "Don't Hold Back", a record launch single that's become a hit especially among UK radio stations.

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

Significant Other unveils a new project: Pain Management. A new imprint presenting music and visual media across a variety of formats. The outlet launches with an original 4 track EP: When It Rains.

Christening the label with his first full length release since 2021, the subversive producer steps out from behind the curtain with a batch of tracks guaranteed to soothe psychic woes and challenge sound systems alike.

True to the name of the label, this debut release delivers a healthy dose of leftfield club weight. Tough and tender in equal measure, it’s a record that explores in-between zones. A fever dream of narrative experiments at the outer edges of club music, packing enough punch to shake a dancefloor, but enough delicacy to soundtrack the ride home. The final product is a meeting of outsider sonics and sleazy dance tropes, body music for restless minds.

The record begins with the lead single ‘RPG’ (A1). A smoked out, drug chug power ballad featuring fellow NYC underground alum James K. Anchored around a growling 4/4 battle beat, swells of dub and inchoate vocal cries rise intermittently from the haze. Within the fever dream fugue of thuggish sub weight and engine-room crud, a tender, sustained warmth shimmers.

A2’s ‘I Get Such Bad Headaches’ is a twisted club thumper built around a questioning vocal refrain. It’s a tongue in cheek nod to the label’s origins that takes shape in a sleazy beat track with some serious club weight. Slowed n’ chopped to the maximum, it’s a low slung sleeper-hit with attitude. DJ Screw meets Tylenol PM, a bass-boosted anthem for the neural punishment enjoyer.

The B-side opens with the title track, ‘When It Rains (It Pours)’, a droned out mess of distant voices and textural grit. Anchored around the titular looping axiom, the track has a deathly, abyssal weight to it. A claustrophobic hymn of surrender, faithful to its stark refrain.

‘Bad Blood’ wraps the record on a tender note. A sluggish heartbeat pumps beneath the fog of dub delays and distortion, propelling forward a lethargic rhythm. Out of nowhere a blissed out synth line pierces the tension. A sharp, emotive melody disrupting the paramnesia with something new. If the record’s title track suggests a downward spiral through some psychic storm, then ‘Bad Blood’ shows the outline of dry land coming slowly into focus.

Art Direction by Ciaran Birch

And once again with a reissue of a rare record that's highly sought after by collectors around the world. After the great undertaking we conducted with lost metal bands like CHILD SAINT and more recently with KNIGHTMARE II, it is with great pleasure that we bring you the first official reissue of TRAITOR and their mini-album "Shot Down"! All those who are familiar with "Show Down" know that it is impossible to remain indifferent to songs like "The Way It Used To Feel", "Have You Ever" or "Feel The Steel".

Formed in 1984 in Bellflower, California, TRAITOR began their short-lived career with the release of the one- sided flexi- single "Feel The Steel" that same year. In the following year, they would release the mini- album "Shot Down" containing a total of five original songs, which takes us unquestionably to the best US Metal made independently in the 80s. We are delighted to bring the first ever official reissue of "Shot Down" on vinyl.

A limited edition with the quality that Lost Realm Records has accustomed you to. With a total of 12 tracks, this reissue will feature the 5 songs from the original "Shot Down" version released in 1985, as well as an alternative mix version, never released before! All tracks fully remastered for the best sound experience.

“A corollary is a statement that follows naturally from another statement”

Presenting Corollary1, the first release in a new remix series flipping cuts from O.M.Theorem’s Lemma projects.

For this one we invited good friends DJ Sotofett and Ossia. Regular conspirators in bacalao and dosa dinners, monthly hangouts at Globus-Tresor and sound system parties in Milano & Bristol. Through appreciation of similar frequencies and shared experiences, friendships grow. It felt natural to invite the two to do remixes for us. One evening we bumped into them on the dancefloor during a live concert by Senegalese percussion outfit Ndagga Rhythm. This was a sign. BAM! The EP came alive.

On the A-side, we hear two fresh takes on Lemma1-B2. DJ Sotofett with his dub heavy output on Honest Jon's and Sex Tags Amfibia invites Ghanese Afro-Dub drummer Ekowmania for vocals and usual collaborator LNS for keyboard work on his sub-deep club-stepping colourful remix. We bet the infectious vocals will linger in your mind for a long time. Play it LOUD for full sub bass effect! The second interpretation of the same track is from O.M.Theorem. A techy dubstep banger, this one!

On the B side, Bristol and Peng! Sound's Ossia picked his favorite Lemma1-B1 and drove the mixing desk in true Dub-style fashion with a classic riddim that meets an avant garde melody going in and out of the mix. This is a remix that deserves attention, with every listen revealing new layers and details. Even the premasters sounded phat as a greasy hamburger on the German capital’s legendary Super Power Soundsystem! The second interpretation is from O.M.Theorem, rebuilding percussion and bass from Lemma1-A1. Liberating himself from all restrictions the result is a footwork-reminiscent 160 cut, ready for the dance floor.

Ruf Dug, the Mancunian record producer, radio host, and self-professed video game freak is back for round two on Pinchy and Friends recordings with a 6 song ep that truly defies categorization.

On this latest outing, Ruf Dug touches on genres as diverse as Dub, Zouk, Melodic House, Balearic Chug, Reggaeton and more....

On side A... 'Asking for Trouble' comes brazenly out of the gate with 'buttoned down'- a bold and instantly iconic Zouk-inspired dance floor destroyer.

It is then followed up by the soothing, downtempo sounds of 'Pomegranate Dub' - another instantly iconic track featuring a lead horn melody that evokes memories of the late, great John Hassall.

Jumping over to side two, things kick off with 'Watching', which, even at it's chuggy BPM, is as deadly as a dance floor track can get.

It’s a welcome return to the label with an EP that will sound as good by the poolside in Ibiza or on a wet Tuesday afternoon in Manchester. Buy or cry!

Acclaimed UK electronic music producer, DMX Krew has announced a brand new album, "Unlikely Seeming", on the Byrd Out label. The8-track album showcases his blend of joyous, melodic synth hooks, textured pads and analogue drum machine rhythms. Leaving to one side pummeling sounds, the focus of this album is on sonic fun, mining the 80s pop vibe DMX Krew does so well. BBC 6 Music"s Tom Ravenscroft describes the trailing single "Wednesday Memory" as "the funkiest thing ever ... it"s almost too joyous".

More astonishing new music from Jason Boardman's BiD imprint.
KlangKollektor is a solo project by Lars Fischer (the drummer with the Psychedelic Cumbia band Trak Trak from Nurnberg.)
The clips here only tell half the story, these are meticulously evolving and utterly absorbing pieces.
A stellar collection of seven dubwise tracks over 4 sides with a Techno and Balearic influence.

Repress!

Radio Slave reissues 2000 and One’s noughties house bomb ‘Wan Poku Moro’ with an extended version and a remix by Riva Starr.

A real dance floor anthem, 2000 and One’s vocal house hit ‘Wan Poku Moro’ was initially released as part of his 2009 ‘Heritage’ album on 100% Pure. The track is now getting a reissue as a single, with two new versions pressed on wax via Rekids, an edit from label boss Radio Slave and a remix from Riva Starr.
On the A-side, Radio Slave extends ‘Wan Poku Moro’’s original eight minutes of hyped-up hands-in-the-air house music to the ten-minute mark with Snatch! Records’ Riva Starr remixing the track on the B-side. He returns to Rekids for the first time since his EP with Mark Broom as Star B and reimagines 2000 and One’s track into a late-night warehouse groover, trading its organic percussion for tight, techy drums but maintaining the original’s infectious energy and earworm vocals.

OTTO is back with a Maximal Super Sound Maxi 12″ on Eine Welt. The label, run by Alexander Arpeggio concludes this 12″ series with an obscure banger by the Berlin-based Organ Band OTTO. On the A-side: Obscure uptempo Italo Madness, bassline-heavy, and featuring dirty vocoder Ansagen.

On the other A-side: a driving and full of surprises midtempo groover with mysterious german voodoo ritual chants. Get a copy of this limited 12″ and get your fun fair ceremony started. Limited 300 Copies only – special cover finish with metallic look.

The only proved efficient time traveling method to date is through listening to music, particularly evident when indulging in Jona Jefferies' latest EP released by Spanish house specialists Apersonal Music. It's a refreshing nod to the golden era of 90s electronic music. Across its three tracks, Jefferies masterfully blends elements of ambient, downtempo, and electronica, evoking a sense of nostalgia as if plucked from a bygone era. In contrast to today's TikTok-dominated landscape of short, immediate singles, this EP harkens back to a time when music was crafted with depth and complexity. Drawing inspiration from legendary acts like Boards of Canada and Underworld, it seamlessly transports listeners to the Gen-X decade, when acts like Daft Punk, Orbital and The Chemical Brothers reign supreme and exploited the electronic scene during the MTV era.

On the A side, "Es Camp" embodies the seamless influence of British electronic music on the Balearic scene of the 90s, and viceversa. Feels like Moby’s “Porcelain” if the film "The Beach" had been set in Ibiza. Max Essa's "Romantic Breaks Mix" elevates the track to pure Balearic bliss, setting the perfect mood for any sunset terrace around the globe.

Side B, tailored for the dance floor, runs through “Lost in Paradise”, a track that channels euphoria reminiscent of the underground rave culture during the final years of the 20th century. Apersonal's trusted remixer, Eddie C, delivers an extended rendition of the track that continually evolves, echoing Jim Morrison’s words: 'the music was new, black polished chrome, and came over the summer like liquid night.'

Main Title (The Taking Of The Pelham One Two Three) (Edit) by David Shire b/w One Way Glass (Edit) by Manfred Mann Chapter Three | Galaxy Sound Company, Solo 500 — SOLO500-502 | I am excited to share a sneak peek test pressing of the third & latest entry in @galaxy_sound_company’s Solo 500 series, which digs deep in the jazz-funk crates for killer breaks ya need in yo bag.

Side A is an edit of the jazz-funk intro track “Main Title” from the original soundtrack of 1974 gritty subway hijack film The Taking Of The Pelham One Two Three. The soundtrack with its funk, jazzy score has been a well that hip-hop artists have repeatedly drawn from. Most notably, “Krazy Kings Too” by Company Flow, “Suprize Packidge” by Mix Master Mike, & “I’m Set” by Goodie Mob.

Side B is a subtle edit of “One Way Glass” by Manfred Mann Chapter Three, which is taken from their self-titled 1969 LP. Manfred Mann Chapter Three were a British experimental jazz rock band, 1969 to 1970, founded by South African keyboard player Manfred Mann & long-time partner Mike Hugg, both former members of the group Manfred Mann. The track was sampled by many, most notably by The Prodigy for their 2009 track “Stand Up” & on “Headbanger” by Krafty Kuts in 2011.

Mampön are back! unleashing their Afrobeat enchantment on a new 45 release.

Crafted for the dancefloor, "Si Algún Dia Has De Caer" combines party beats with Spanish lyrics. Hectór Rodriguez, the band's guitarist and lead singer, creates a deep connection between celebration and introspection on an enchanting vocal-rhodes introduction before the rhythm takes you for a dance.

On the B-side, Mampön maintains the Afrobeat tradition as more than just dance music—it's a protest, a resistance. "Papeles Rotos" portrays people as slaves with rights on wet, torn paper, urging listeners to forge their path regardless of the cost.

Mampön emerges as a true soft power, destined for every dance floor, spreading Afrobeat magic.

Neon Lies started as a synth wave bedroom solo adventure in late 2015 by Goran Lautar while he was still singing and playing guitar in prominent bands from Zagreb’s D.I.Y. punk and post punk scene.

His fourth full length album “Demons” is the logical progression from the minimalistic lo-fi darkwave sound crafted on the highly praised previous album “Loveless Adventures”, but on this one you can expect even more of this desperate and introspective display, dwelling into the darker dystopian side of up-to-date electronic sounds from European underground clubs and sweaty stroboscopic flash dance floors. Both restless and intimate, “Demons” brings eleven personal hymns full of icy synth lines, rubbery bass punches along with minimal wave drum beats that are all accompanied by desperate and warm cry out of his vocal manoeuvres.

Where stars drench the sky in hues of infinity, amidst the chaotic waves of supernovas, Sleem Gleam emerges from the abyss to debut a fusion of electronic rhythms and reverberated riffs that crash against the shores of reality.

Riding on a hot acid groove and descending into an electric whirlpool, “Lava Barrels at High Tide” is a stripped-back oceanside bop that epitomizes the swell. Up next, “Totally Pitted” hits maximum wetness with an iconic bass line and blazing flanged-out hats guaranteed to jostle a noggin.

On the flip side, the upbeat electro jam “Cosmic Rip Current” presents a hazard to beach-goers in the form of a thick and psychedelic stellar blip-swirl. Lobotomy Party sends it home at high speed with twacked-out vocal samples and surreal pulsating bass.

Sleem Gleam is the new surf-inspired alias of Minneapolis-based Kajunga co-founder Ry Johnson, aka Ryote. He has been making and releasing electronic music since 2007 and DJing since 2011.

Soul Jazz Records’ new 10th anniversary one-off limited-edition heavyweight special-edition orange coloured vinyl pressing (+ download code) exclusively for Record Store Day 2024 of their long out of print Punk 45: Kill the Hippies! Kill Yourself! Soul Jazz Records’ debut Punk 45 album charts the rise of underground punk across the United States of America in the years 1973-1980. This album is fully remastered, relicensed with new tracks exclusively for RSD 24 and includes new tracks from Iggy & The Stooges, Nervous Eaters, The Angry Samoans and more!


The Punk 45 album features a collection of seminal, classic, obscure and rare punk and proto-punk 45 singles from the likes of Electric Eels, The Pagans, The Deadbeats, The Randoms, The Lewd and many more - a lightning-rod journey across the states of America - Cleveland, Detroit, Los Angeles, Akron, New Orleans, Philadelphia – tracing the rise of punk music in these various towns and cities. The album comes complete with extensive text, biographies on each of the bands, exclusive photos and original record artwork.

Matt delivers 4 modern Acid tracks A1. Hallucinations in Pilsen - A Latin Acid Nu-Jazz piece complete with hypnotic synths, Latin guitar, a grooving Acid line and backed by TR909 Bass Drum and Hat Cymbals. A2 Water Energizer - Features Broken Breakbeats with a TB303 Bassline and Haunting Jazz and Funk keyboard melodies.

On the B Side keeping with the theme of Futuristic Acid never heard of before. comes Reciprication - A MachineDrum driven track with TB-303 stabs in a more traditional style along with Acid from a modern Synth famous for making Acid. It builds into filtered atmospheric synth melodies. Closing out the EP is Gamma Ray - Another driving track made with the MachineDrum complete with more Acid basslines, it builds into more atmospheric madness with a unique placement of a second kick drum that bumps a higher low-end frequency.

Warehouse Find!

With Manuel Tur's Es Cub LP just out and winning high praise from all corners of the electronic music press we present you DJ's and vinyl aficionados with the second part of the two separate 12's highlighting Manuel's brilliant third album. As RA put in their review - 'This is among the most seductive collection of house tracks so far this year.'

In 2012 Manuel spent a year living in Ibiza, the birthplace of his father and somewhere he has always felt a strong connection with despite never having lived there. This period became something of a sabbatical, a year of orientation both privately and musically and despite managing to visit not one single club in his
entire time there the esoteric and cabalistic nature of the island clearly became a big influence.
Here in Part 2 things get off to a suitably raw and bumpy ride with El Soplo where a depth and certain majestic beauty are created from the simple, stripped back, rolling beats and flowing pads. Flux takes things in a more minimal direction with echoing percussion hits and plucked synth line giving a sense of space, the driving, the single note bass reminding us of the more techno side of say Ame or Baikal. Flipping over we have Basilia which picks up the tempo and pushes a single reverberating vocal hit to the front of the mix before we are introduced to the glassy chiming arpeggiations that have become Manuel's signature sound for this LP. Finally, El Dub goes for a subaquatic vibe with a slow pace and dubby FX allowing us to get absorbed in the foggy haze Manuel creates with his thoughtfully conceived
minimalism and minute attention to detail. Expect to be hearing much more from Manuel in the coming months. He has become
in demand for his mixing skills, working regularly with Andre Hommen for Objektivity, Shit Robot for DFA and Marcus Worgull for Innervisions.

Dib’s first appearance on dailysession.

Side A1 starts with a nice deep house influenced by 90’s Chicago house, inherited from Mr. fingers. Silky synth pad melodies with simple but effective drum machine programing are powerful enough to lose your mind on the dancefloor.

The second track on side A is the funky synth bass-driven house, punctuated by melancholy analog synth sounds.

You are dancing with your eyes closed in the club at 3AM. Side B track 1 is the acid house with ambient synth pads swelling over a minimal hypnotic 303 bassline.

The last track is the minimal deep house with a deeper soul quality. This one will melt the dance floor.

This EP is faithful to the original house music sound yet still sounds ruthlessly modern.

Our 20th celebration year continues with a very special comeback! It’s exactly ten years now since the last Ben La Desh release on our label, his sublime “Stellar Talk EP” hit big waves and together with the “Midnight Rendez-Vous EP” from 2012 he cemented himself in the lo-fi deep space house scene as an artist to look out for, no one produced deep house like he did back then. After a longer break from releasing music he is back and we think stronger as ever, with analogue gear and well curated sampling and live field recording we present you his “Fine Rise EP”.

The opener “Heel Goed” is an amazing track with that distinctive 909 beat and DX bass driven “La Desh” flavour and a truly wonderful vocal sample from a 90s TV commercial, hilariously funny and brilliant at the same time! We can’t wait to see the faces of people, especially on the Dutch dancefloors, when they try to figure out and discover what the ladies are talking about! Second A side track is the super funky “Lift Adrift” that flanges itself to outer space, etherical with chopped break beats and various percussive and rhythmic Pearl Syncussion layers running through effect pedals, Lift Adrift!

On the other side we start out with the deep title track “Fine Rise”. Here Ben treats us again to his trademark spaced out effects driven sound and on top a killer bass line and synth lead melody, reminiscent of the golden age of (good) trance music. Followed by the break beat gem that is “Asanti”, cautiously cut up breaks and layered machine drums with bubbly Syncussion sounds, rain drops falling down on different surfaces recorded in a garden in the French Drôme and processed African Kalimba. Did we already say Etherical? It is!
Closing out this great new record is the ambient piece “Expanding Signal”, an analogue tune that consists of field recordings and deep dubby chords, a building Juno pulse, swooshes and again a profound DX bassline, think of “Sun Electric” or “The Orb”.

Enjoy this one and play it loud on the dance floors or silently in your bedroom, it works everywhere as far as we are concerned!

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Clone Royal Oak for all things House! This one for the deep house warriors... John Daly delivering two cuts reminiscent of the early 90's NY deep house vibes. On the a-side we got the warm jazzy ''I Get So High'' in the AM mix and the original mix featuring vocals by Barbara Vulso and Saxophone by Jabin Ward. On the flip side we have the dreamy ''Two Days'' in the original version and one of those rare house mixes by Alden Tyrell & Serge who added some bump to this release. John Daly, the og Irish deep house maestro is back!

Pressed on limited edition purple rain vinyl. Wrote and produced by Colemine label owner, Terry Cole. Band consists of two members from The Jive Turkeys. The last recordings made at the basement Regent Drive studio in Middletown, OH finally making it to a dirty 45! The Tee See Connection is comprised of members of The Jive Turkeys (Rob Houk - drums, Matt Amburgy - keys, Terry Cole - bass). The A-side, "Skyline Chili Churner" is an organ burner with funky bass and blown out breakbeat style drums while the B-side is straight up boom bap with Matt Amburgy cookin' hard on the keys. Drums and all parts ripe for sampling!

Little Beat More is proud to present you a two-track EP by Turist, a Vienna based psychedelic Dembow project, founded to combine the energy of a live band with the tightness of an overdub session. ?Turist made it their mission to revive handmade music from the 60's and 70's aiming for the dancefloors of today!
The two tracks demonstrate how they interlace heavy basslines, colorfully echoing guitars and driving drums, drawing inspirations spanning from Ghanian highlife to Peruvian cumbia.
“Skeet”, on Side A, is the band’s manifesto with their special blend of Caribbean dance rhythms and Californian surf music psychedelia. Side B's "Ez Up" is a straightforward champeta song, the Afro-Colombian style that fuses sweet soukous guitar lines with uplifting soca rhythms, making you want to immediately look for the nearest Pico Soundsystem.
Set off on a rhythmic journey following Turist in their musical nomadism with us!

Acid Mothers Temple brand new mind-bending psychedelic LP "Holy Black Mountain Side". This limited-edition record features three, brand new, mind-bending psychedelic tracks, including a traditional piece woven into their signature sound, this release is a captivating journey through the realms of the Acid Mothers Temple landscape. Mastered by and featuring Taigen Kawabe of Bo Ningen, these tracks were recorded across 2021 and 2023 at the Acid Mothers Temple, Japan and expertly produced, engineered & mixed by Kawabata Makoto. The sleeve compliments brilliantly the musical voyage with a one-of-a-kind artwork created by the acclaimed artist Kashiwagi Ten, adding a visual dimension to the release. This pressing is on a 180g heavyweight ECO MIX vinyl, which allows for great quality of sound. With no one knowing what their vinyl will look like until it's opened, each one will be as individual as the next.

Arriving as the third album on Supreems ‘Sweet Sun’ label – an imprint gathering a reputation for future-facing, storytelling electronic music – Sloucho's 'NPC' explores the duality of his main character and non-playable lives. With a strong Irish artistic presence featuring Rory Sweeney, EMBY, Curtisy and more, Sloucho navigates through Cloudcore-inspired broken beats, bass-driven percussion, alternative dreamscapes and wubby fuck-steps on his most complete release to date, laying the foundation for an origin-story in the process.

Garnering support from Surusinghe, Roza Terenzi, Two Shell and more; some of the tracks on NPC have already been heard in clubs around the world - from Antwerp to London and Mumbai to Paris. ‘Mind Traveller’ offers an ambient introduction to ‘Athrú’, Sloucho’s home world, as the artist's pitched vocals act as the listeners guide into the island's core. ‘Mutant’ features experimental electronic artist Rhoshi on a track that follows the kaleidoscopic sonic-themes of Sloucho’s previous Cloudcore releases ‘Slow Feet’ and ‘Silver Veil’, before the Rory Sweeney-featuring ‘Come Around’ ignites the dance with its dutty screw-face two-step, balanced by moments of melodic contemplation before evolving into a techno-dancehall hybrid.

‘Brand New’ stays on the steppy aesthetic, and brings MCs EMBY and Zack Oke into the frame with a 3D Meta-human video created in collaboration with respected, exhibiting digital artist Aisling Phelan. Using a motion capture suit, they captured EMBY and Zack’s performance and imported it into Unreal Engine, using different environments scanned from around the Greek Islands as the backdrop. The result is mind-blowing; a complete digital realm, shot like a real-life rap video as EMBY and Zack spit bars across an elasticated garage riddim. Full video is on YouTube.

‘Super Maramu 2000’ is a cut of alien-club beamed directly from ‘Eile’, the afterlife of Sloucho’s Neolithic ancestors. A waltzer-ride through Latin-bass and techno with an oxymoronic blend of maximalist and minimalist futurism, it’s as silly as it is serious, before the stuttering, juke-influence of ‘Make It Work’ brings the album’s rapid first half (and a bit) to a close.

Sloucho seamlessly weaves from front left of the club to dark, fume-filled rooms on ‘Two Thousands’ (featuring EMBY and Curtisy), ‘Rocks’ (featuring Zack Oke, who sounds remarkably like experimental spoken-word artist Coby Sey here, and Chilean artist Vatican Jail) and ‘Lights On’ (featuring Yamagōchi), Sloucho explores a previously unseen side to his sound, meandering through alternative trap and hip-hop laden beats that are both dreamy and nightmarish, bringing NPC to its starry-skied climax.

Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra.

Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘UP’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’.

Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps.

Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle.

Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label.

Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire. Due to be released by BBE as both a vinyl and on digital From The Fire is an album of Soul-Jazz with a serious environmental and social messages as well as one which blends classical music, hip-hop and influences from Roy Hargrove, Bill Evans and Herbie Hancock. Indeed it is Roy Hargrove's studio techniques evident in his work with the RH Factor that Audrey credits as a major factor in her producer role here. As well as her solo work, Melbourne born Audrey Powne has also worked as a session player with acts as diverse as Maceo Parker, Midnight Oil, Jimmy Barnes, Masta Ace and the Grammy nominated band The Teskey Brothers. With testimonies and positive reviews from Gilles Peterson, Earmilk, Bandcamp Daily, tracks on the Sunny Side Up compilation and performances on Boiler Room Audrey Powne is a supreme talent whose star is on the rise. From The Fire is destined to become a future classic.

Re-Stock

This release combines You Got The Best of Me', extremely rare on original 7' single, with I Can't Forget About You', never previously released on 7' vinyl. Both songs are Ronn Matlock's best on the 1979 album Love City' from Cotillion Records. The vocal style has been described as Teddy Pendergrass meets Barry White while the music is modern soul from a golden period of strings and horns championed by Earth Wind & Fire and equally legendary producer of these two sides, Michael Stokes. Both are dancefloor gems, I Can't Forget About You' first acknowledged by Expansion in 1994 on the compilation Soul Chasers Vol.2'.

Lloyd Banks is gearing up for the release of The Course Of The Inevitable, his first studio album in over a decade. Having previously set the stage with a few cinematic teaser trailers and the album cover, Banks has now come forward to confirm the official release date for the upcoming project, as well as the tracklist and guest appearances to be expected.

For the most part, Banks will be flying solo on COTI, with only five of the eighteen tracks including featured artists. On that front, we're looking at appearances from Roc Marci, Benny The Butcher, Styles P, Sy Ari Da Kid, and Vado. Other than that, however, the stage is largely set for the Punchline King, who will likely have much to say on his fourth studio album.

A 2LP edition on coloured vinyl of the original album remastered, housed in the newly updated Hopes and Fears 20 artwork, plus second disc of B sides and rarities.

"Mercury Studios announces the May 10, 2024 release of Back to Front– Live in London from Peter Gabriel on 4K Ultra High Definition Blu-ray.
Back to Front – Live in London captures the complete live performance of the So album from start to finish. This spectacular live concert, filmed at London’s O2 over 2 nights in October 2013, using the latest Ultra High Definition 4K technology, captures Peter Gabriel’s celebration of the 25th anniversary of his landmark album So. "

Repress!

PRINCE PHILLIP MITCHELL has been performing, writing and producing since the early sixties and even spent a little time with Alvin Cash's backing group the Cash Registers. He wrote hits for Mel And Tim and Millie Jackson but is best known on the Northern Soul scene for his 'Shout' recording Free For All' and our chosen side, the crossover soul anthem I'm So Happy'.
LOU RAGLAND shot to fame on the Northern Soul scene with his 4-figure rarity I Travel Alone', recorded for 'Amy' Records in May 1967. It was his home town buddy, Edwin Starr, that helped Ragland secure the deal and although a flop at the time it cemented his popularity in England. When Starr came to the UK in 1983 with his Ric-Tic Revue Ragland was invited along and, at last, got the recognition he deserved.