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Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

One of the last great albums of the first wave of Peruvian rock, originally released in 1974, linking psych-tinged rock with Afro-Latin American beats and folk pop. This first record by (former Traffic Sound and Los Nuevos Shain's member) Zulu was also his last and one of the most enigmatic albums released in Peru in the '70s, as the artist vanished into the religious path, making sure his music got as unnoticed as possible... Reissued for the first time with the collaboration of Zulu, including extensive liner notes and one extra track. DESCRIPTION: The first record by Zulu was also his last. Shortly after releasing it in 1974, the artist withdrew from the music scene and never returned. 46 years later, his music still sounds out of time. His musical eclecticism heralded a different era and linked rock with Afro-Latin American beats and pop. His debut and only LP is one of the last great albums of the first wave of Peruvian rock. No other original records of this type were released in Peru until the early 80s. In the 70s, in Peru, most rock groups sang in English. For his LP, Zulu chose to sing in his own language and focus on his own emotions and experiences. In the early days of his career he became member of Los Shain's, for less than a year. Then he was invited to join Traffic Sound playing bass guitar and keyboards and record the band's third album "Lux". An offer to start a solo career would follow and 'Como una escalera ', 'Alegría' and 'Cariño grande' 45s were released. The expectations that his first solo singles generated were met by the release of the LP Zulu in 1974, boasting an eclectic and innovative sound. Andean folk, Afro-Latin beats, psych-tinged prog rock scents, moog glides, choir arrangements spread across the entire album creating a truly unique piece of music. A few demos were also recorded for the next album but this never saw the light. In December 1974, a few months after the LP was released, the artist decided to disappear. At this point of his life, he started to become aware of the need to define spirituality. After exploring and comparing countless religious, philosophical, psychological texts and trying transcendental meditation and yoga, he concluded that the Bible was the most profound and clearest text. While this was going on, his public figure grew thanks to the success of his album. At the end of 1974, Zulu surprised the manager of IEMPSA, Augusto Sarria, by communicating his decision to leave show business. The artist vanished into the religious path, making sure his music got as unnoticed as possible... This is the first ever reissue of Zulú's 1974 album. It has been supervised by the artist himself and includes extensive notes and the extra track 'Haces mal, pobre chico', B side to his first single that never made it into the album.

coloured vinyl.

* A classic and highly influential dub set from 1989, regarded by some as the one of the album’s that kick-started the UK dub scene revival along with the likes of Jah Shaka and Mad Professor.
* Produced by Sound Iration (Nick Manasseh & Scruff) and originally released on Youth’s Mr Modo label.
* 8 Pieces of bass-heavy dub cuts with melodica, flute and vocals floating in and out of the mix.
* This is the dub companion album to Tena St­elin - `Wicked Invention’ (PRTLLP013).

Bobby Oroza puts his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he has updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience. With Coronavirus bringing the world to a halt, Bobby-a father and husband-had to do something. No tours to play or studio time to fill, Bobby found himself back in the construction yard, doing blue-collar work to provide for his family. "I was super grateful for the work-a lot of my colleagues didn't have an option like that," Bobby admits. More than a few personal hardships forced him to acknowledge and work through some brutal truths. And what came of it? Well, for one, this new record Get On The Otherside which pretty well describes what Bobby's been through: He had to demolish his ego, his old ways of thinking, and his tried approaches to anchor into a refreshed perspective with new understandings. As Bobby tells it, "I had to do some real self-searching, come to terms with what was wrong, and how much of it I was responsible for." So how does this translate to the new album? Moments of clarity as to where the real value in life lies on "I Got Love," encouraging numbers like the title track "The Otherside", and declarations of self actualization on "My Place, My Time." Even the more straightforward love songs are outside the box lyrically like "Sweet Agony" and "Loving Body." If you have never had the pleasure of catching one of Bobby's live shows you may have no idea that he is a maverick on the guitar. He lets us in on a little of that on "Passing Things" with a solo that possesses the same restrained and space that his lyrics do. As we'd expect, the songwriting still has that raw, direct edge to it. But an evolution has taken place. There are new points of view on familiar territory which in Bobby's words "For me to love, I needed to take a bigger view of love. One with less ego and more empathy" really hold true. The result is a record with Bobby's new found humility on full display and a message of encouragement to anyone who is struggling and can't see a way out. It still may be hard to nail down and define Bobby and his sound. He's no one thing more than the other. But what he's showing us now, on Get On The Otherside, is that we can also label him a soulful, philosophical optimist. Someone who can say a lot with a little, and who wants us all to know that it's us that has to do the hard lifting to truly live a life in love-both with the world and with yourself.

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual. The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights.

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. First time reissue. In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El boogaloo de Cantinflitas". "Acabo con Lima, huyo pa' Nueva York" was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos, who feature prominently on the album. Songs such as 'Vuela mi descarga', 'Peruvian boogaloo' and 'Peruvian guajira', pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.

Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. In the album O Mistério dos Quintais, the two brothers presented a Brazilian Hippie Folk full of psychedelic touches a times with flanger effects, reverb and synthesizers, a times totally raw with medieval melodies, flutes and strings. The record goes with the original artwork, insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone. O Mistério dos Quintais was released originally in 1983 via a some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one.

We welcome Stasis to De:tuned! UK techno pioneer Steve Pickton has dug deep into his DAT tapes collection to unearth 2 previously unreleased recordings from the golden era '92-'93. Both rarities offer a trademark lush and retro-futurist Detroit inspired sound that is totally unique. Fellow Likemind legend Nuron provides a stunning remix. The track was built up from scratch as no stems were available, giving you another sneak peek of the genius musical mind that is Nuron.

The vinyl version comes with impeccable sleeve and label artwork by Abdul Haqq (Third Earth).
Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl.
A separate digital release will also be available at the usual digital shops.

Stay tuned!

A reissue on black vinyl of the cult 1982 soundtrack to Tron by legendary electronic pioneer and composer Wendy Carlos (The Shining, Clockwork Orange). The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analogue Moog synthesizer and GDS digital synthesizer, along with non-electronic pieces performed by the London Philharmonic Orchestra. Two additional musical tracks (“1990’s Theme” and “Only Solutions“) were provided by the American band Journey. This is the first reissue of the black 18 track 1 LP vinyl. 2022 will mark the 40th anniversary of the Tron Franchise. The original film tells the story of computer engineer Kevin Flynn who finds out that an executive at his company, has been stealing his work. Flynn tries to hack into the system but instead is transported into the digital world of The Grid , where he has to battle Sark, and the imposing Master Control Program. Helped by Tron (a security program) and Yori , Flynn becomes a freedom fighter for the oppressed programs of the grid. The soundtrack perfectly captures the geometrically intense landscapes of cyberspace and the virtual gladiatorial computer game.

Back in 2011 Markus Guentner and Heiko Badje formed Stareaway to follow their vision of creating both enchanting and haunting music from melodies and drones. Combining Guentners complex Wall of Electronic Sound and Badjes ethereal androgyn voice and multifaceted guitar play, they indeed produced some epic works between Ambient, Pop and Shoegaze, strangely shimmering and profoundly mysterious.
Now Stareaways fantastic (and back then maybe a little overlooked) album No Life In This Ghost Town sees its rerelease and is, for celebrational purposes, accompanied by this EP of four stunning remixes by stunning artists Rafael Anton Irisarri (who also did the mastering), Simon Scott (Slowdive), Thomas Fehlmann and David Westlake (ex Sneaker Pimps). Rafael Anton Irisarris magical take on O Suomi sparkles bright, still with melancholia always present. David Westlake emphasizes the Pop-aspect of Appointments, adding lush synth melodies and light-filled grooves while Thomas Fehlmann lets All Over You spiral into Popambients most majestic heights. Finally Simon Scott builds a Kathedrale aus Klang on Dreams May Never. Amazing remixes of amazing originals.

Rhythm Section INTL are back with another release from SAUL, ‘Mutualism’ drops on August 19th 2022. Jack Stephenson-Oliver (keys player of fellow Rhythm Section signee, Vels Trio) and producer Barney Whittaker, aka Footshooter.

Their newest project is a feel good, summer-ready soundtrack, bursting with uplifting synths and groove- heavy broken beats. When the two of them get together, their jam sessions result in a fusion of alternative future jazz. Collaboration is a key element to the creative output of SAUL, shining a light over individual talents such as Allysha Joy, Natty Wylah, Lex Amor and James Mollison.

Mice Parade returns from a decade of silence to release lapapọ, an album that spans the many styles of their storied career,and features guest singer appearances by Angel Deradoorian (Dirty Projectors) and Arone Dyer (Buke & Gase). The rock is louder; the West-African-inspired highlife breaks are chubbier; the dueling drumkits are more complex, the instrumental passages more serene. What started as a home recording project in the late 90s soon morphed into a formidable and completely unique live band of incredible musicians from around the globe, all live-mixed and effected by legendary UK engineer Brandon Knights (aka Dub Warrior), the longtime sound engineer for Lee Scratch Perry, Soul II Soul, Gladiators and others. After 9 albums and nearly 15 years years of worldwide touring, including festivals across the UK, Iceland, mainland Europe, Turkey and Japan, and supporting Stereolab across the US, Mice Parade fans can finally hear some new music, and the live band hopes to safely reunite later this year. Throughout it all, Adam has mostly recorded with same ethos: allowing only one take for each track, forcing him to either leave in mistakes or address them with mutes or distractions, and embracing the Bob Ross concept of 'happy accidents.' This was a strict rule for the first several albums, and while he eventually became less strict about it, it's still a goal that is achieved more often than not. Perfection is not the goal - indeed, there should be no such thing in music. Most songs are not even written before pressing the record button, but instead are built piece by piece in improvised fashion. lapapọ is a Yoruba word meaning something akin to "totally" or "altogether."

Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience - a sound so huge it can swallow us all. Oblivion Hunter is a monster. Not a compilation, not concept album and more than the sum of its parts, the record is a peek into the band"s inner world on their home turf (the Hilarious Attic in Providence), collecting deep explorations into distortion, bass manipulation and its intersection with rhythm. A Limited release in 2012 sold out almost immediately. This first re-issue is a deluxe one coming with 4 different covers each matched with it"s own color vinyl. Re mastered by Josh Bonati, you can now immerse yourself in this pivotal Lightning Bolt album"s sonic oblivion and YOU are now the Oblivion Hunter. A cathartic listening experience, Oblivon Hunter finds blast-beats colliding with distorted vocals and all shapes and sizes of guitar noises, even some metallic riffage on the album closer and aptly named "World Wobbly Wide." Throughout, the sound is amped-up and free with an ear on the railroad tracks to the big sounds of industry and clamor. Bass sounds jump out of the speaker cones that conjure up ears in alien propulsion systems, nights in faraway wind tunnels. Experience this pivotal album in Lightning Bolt"s catalog like never before.

Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience - a sound so huge it can swallow us all. Oblivion Hunter is a monster. Not a compilation, not concept album and more than the sum of its parts, the record is a peek into the band"s inner world on their home turf (the Hilarious Attic in Providence), collecting deep explorations into distortion, bass manipulation and its intersection with rhythm. A Limited release in 2012 sold out almost immediately. This first re-issue is a deluxe one coming with 4 different covers each matched with it"s own color vinyl. Re mastered by Josh Bonati, you can now immerse yourself in this pivotal Lightning Bolt album"s sonic oblivion and YOU are now the Oblivion Hunter. A cathartic listening experience, Oblivon Hunter finds blast-beats colliding with distorted vocals and all shapes and sizes of guitar noises, even some metallic riffage on the album closer and aptly named "World Wobbly Wide." Throughout, the sound is amped-up and free with an ear on the railroad tracks to the big sounds of industry and clamor. Bass sounds jump out of the speaker cones that conjure up ears in alien propulsion systems, nights in faraway wind tunnels. Experience this pivotal album in Lightning Bolt"s catalog like never before.

Repressed !

Fuzzed out and psychedelic covers of rare and classic tracks performed by San Francisco's Monophonics.
Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences, proving themselves to be the rightful inheritors of the Bay Area’s impressive psychedelic soul sound. Mirrors is comprised entirely of cover tunes, except that I doubt you’ve ever heard of half the deeply funky and soulful originals that inspired these soulful, tastefully produced, and timeless Monophonics treatments. “We wanted to do a couple songs that were more familiar to people and then shine some light on groups we’re big into,” lead singer, keyboardist and co-producer Kelly Finnigan explains. It takes a lot of guts to cover your favorite songs, your van jams, that song you play as a shot of inspiration to break-up a marathon studio session. “Not only are these great songs, but these are artists that we listen to and are influenced by.”

“It’s not about making records that sound old, it’s about making records that sound cool,” Kelly says. Not that he and the other five members of Monophonics mind if you confuse their albums for classic-era recordings. Even musician friends regular mistake a sweaty and greasy Monophonics original for an unheard Bar-Kays’ side, or a deep soul cover tune might pass for an original to a novice ear, except that Kelly makes sure to give credit where credit is due, which is what they do explicitly on this EP, Mirrors.

Even the familiar tunes, iconic, better said, receive a fresh treatment as instrumentals, despite their ubiquity as vocal songs. The EP opens with a ‘tip of the cap’ to The Main Ingredient’s version of “Summer Breeze” before the band unfolds a hazy, mellow-funk opus worthy of inclusion on a Bob James CTI album. The next four songs, all featuring vocals, range from the lowrider soul ballad, a cover of the The Invicibles’ “My Heart Cries” with a pleading and plaintive vocal by Nicole Smith, to the psychedelic blues stomp, “Lying,” originally by the archetypical psychedelic soul band nearly signed to Motown, Black Merda. Add in Kelly’s monster vocal take on Frankie Valli and the Four Seasons Northern Soul classic, “Beggin” (to be released as a 7” single with an instrumental version on the b-side), and the deep-funk pop-soul of Nu People’s “I’d be Nowhere Without You” with back-up vocals by Jeanine Jones and Veronica Johnson, and you have a highly-entertaining, toe-tapping, backbone-slipping, masterclass in deep funk and soul.

The final tune is the band’s singular take on the Mamas and the Papas hippie standard, “California Dreaming,” as an explicit and heartfelt tribute to their fans in Greece. The discerning music lovers of Greece fell in love with Monophonics after their 2012 hit “Bang Bang” resulting in multiple tours of the Mediterranean, where these native Californians imbibed on the fine ouzo, good vibes, and Grecian hospitality. Gifted a prized bouzouki (a traditional Greek guitar) by a local fan, Monophonics’ guitarist Ian McDonald and band infused this classic pop song with a soulful cinematic air and Mediterranean flavor, evoking a tune from an imagined Fellini film with a soundtrack by David Axelrod.

Catch the band on the road this Spring to hear some of these songs, favorites and new tunes from their forthcoming LP.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivalled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12' release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature - gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones, 'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music - mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan's vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP - exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'død' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session - as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

PARASITE INC. sound anno 2022 both harder and softer, faster and slower at the same time, more modern and yet again more 80s than ever before! Musical contrasts, which are no novelty with PARASITE INC., because after all, the Swabians surprise since the beginning of their career again and again with their somewhat different interpretation of the Melodic Death Metal genre.
During the pandemic, ten songs were created in the band's own studio under the title "Cyan Night Dreams", which show a consistent musical development towards an even more independent sound garb. The result is a varied album, which comes along harder and more aggressive than the predecessor, but at the same time brings the melodic facets of the band even more to the fore.
From songwriting, to production, to graphic design, the German melodeathers once again developed an overall concept that perfectly reflects the dark mood of the songs. The mixing and mastering was done this time by Aljoscha Sieg and Seb Monzel from

(DIGIPAK)
WW ex-Japan ex-USA 4251981701806

(VINYL)
WW ex-Japan ex-USA 4251981701813

Pitchback Studios (among others Eskimo Callboy, August Burns Red), where already the last studio album, as well as the live concert was refined by their internationally appreciated work in the mastering process. The album was supported by the Initiative Musik as part of the "Neustart-Kultur-Programm".

Limited to: 300 copies.

Lera Lynn blurs the boundaries between genres, carving out a sound inspired by art-pop, indie-folk and the outer edges of American roots music. She’s a singer. She’s a songwriter. She’s a road warrior. She’s a multi-instrumentalist and producer. She’s a mother.

Texas born, Nashville resident Lera Lynn is just as comfortable creating an album entirely by herself, as she is collaborating with her heroes. In 2018, she worked with T Bone Burnett and Rosanne Cash on tracks that were not only picked up by the TV show True Detective, but Lynn was cast as a recurring character who performs in a dive bar frequented by the main characters.

However, nothing could have prepared Lynn for the lessons learned during motherhood. She welcomed her first son during the early months of the pandemic and began writing down her insights, chronicling this newfound experience of shifting priorities, strange endings, and new beginnings. Inside, she was battling postpartum depression. Outside, a bigger picture began taking shape: a feeling of interconnectedness, of cyclic renewal, of the knowledge that every beginning is an end and every end is a beginning. Those realizations coalesced into Something More Than Love, a record filled with synthesizers, lush soundscapes, the pop-noire punch of Lynn's voice, and the most dynamic melodies of her career.

Inspired by the cyclical patterns that shape our place in the world, Something More Than Love was co-produced and largely performed by Lynn and her partner, Todd Lombardo (Kacey Musgraves/Donovan Woods/Kathleen Edwards). They'd met years earlier, not long after Lynn relocated to Nashville from her college town (and musical launchpad) of Athens, Georgia. "My first time ever co-writing a song was in Nashville with Todd," she says of the ACM-nominated multi-instrumentalist. The two became fast friends and, eventually, partners; their creative chemistry giving way to romance and a growing family. That partnership reached a new milestone in 2021, with the newfound parents sharpening their creative instincts and expanding their palette for Lynn's sixth album.

"A lot of people were making records during the pandemic," Lynn notes, "and all they had was time. But it was the opposite experience for us. We created this whole record while still in the fog of early parenthood, and we didn't have the luxury of waiting for lightning to strike. We had to be focused and intentional."

Striking a balance between intimate self-reflection and universal insight, Something More Than Love poses big questions over even bigger-sounding music, with tempos and layered arrangements that find Lynn at her most dynamic. Illusion opens the album with spacey synthesizers before snapping into a taut, 1980s-influenced groove, combing reverb and rhythm into a song that swoons one minute and struts the next. I'm Your Kamikaze — a deconstructed burst of indie garage-rock, heavy on melody and percussive pulse — unfolds like a salute to self-sacrifice, with Lynn dedicating her own existence to ensuring her child's flourishing. What Is This Body? finds her reassessing her ideas of physical identity and womanhood, while the album's gorgeous title track makes room for slow-burn strings and a meteoric chorus.

Together, those songs turn Lera Lynn's experience with absolute surrender — surrendering oneself to the trials and triumphs of motherhood — into a universal record about the experiences that bind us together. This isn't just Lynn's story. It's the story of a life cycle that repeats itself over and over, every termination point becoming a starting line, every death matched by a rebirth, every edge giving way to the circular slope of the ouroboros.

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

Next up on the Kyiv-based label Kashtan comes from a very promising Ukrainian artist Monoconda.

Oleksandr Filonenko aka Monoconda is a Kyiv based multi-instrumentalist, music composer, sound producer and a live performer. While making music for commercials, theater and public places, Monoconda started to release his own electronic music in 2018 with an album called "Alphabet". His second release, "Low Light" was recorded during the pandemic isolation, and was named as one of the best records of the year by top Ukrainian musical journalists. There was much music recorded after that, alone and in collaboration with different musicians, but the pandemic and the war have made the release process somehow impossible or at least quite a hard quest. But the music is always being done, cause that's what he is here for.

The main concept of the Kyiv label Kashtan is to identify and carefully choose the pearls of Ukrainian electronic music, which are not defined and limited by genre definitions. This playing with genres has been released through the album "Horizon" by musician Monoconda.

Collins Dictionary Example sentence: „Other ocular signs include involuntary rhythmic movement of the eyeball.“ Someone in the editorial department wasn‘t paying attention and involuntarily spoke a deeply buried truth: The movement from the eye to rhythm and from there to sound is sometimes a small, puny one.

Now Infuso Giallo provides the proof at the same time and implements his live show for last year‘s debut album „Ocular Soda“ as an audio-visual show, as intertwined senses. Visible sound, audible images. Such ideas only last when they are put to the test and scrutinised by several experts.

The duo Globus, which consists of 2/5 of the post-hardcore band PTTRNS, examines the synth hook of the second part of the double-opener „Every Waking Hour Pt.2“ by playing it, varying it, letting it sway.

In contrast, Anatolian Weapons from Athens can‘t help but immerse the ambient, Soft Machine-production-like first minutes of „Every Waking Hour Pt.1“ in a sinister black light. Staggering into a basement club filled with nocturnal shadow people and indulge in carousing. Cautiously at first, then more and more determinedly.

From Hamburg and Berlin, the „Mole Gaze“ gets a special treatment. The trio Love-Songs drags the number off to Hamburg harbour, packs it onto a steamer, deep into the bow and lets it operate the sonar there. Conrad Schnitzler would have been delighted.
Infuso Giallo, meanwhile, realises that there is nothing more boring than standing still, so he revamps „Hello World“ and gives it a rear spoiler that keeps this number in lane even at club speed.
Speaking of „keeping in lane“: Niklas Wandt, the magician, doesn‘t even try such tricks. He simply throws an acid bolt on the closer „Ocular Soda“ and waits to see what happens. Alongside breakbeats from nowhere, Albert Hoffmann himself appears on a bicycle.
„Ocular Soda Remixes“ is the first tape on the Kame House label, so there‘s only one thing to do: open your eyes and listen!

The latest release on Livity Sound features an extensive insight into the work of Seb Uncles, aka Eusebeia. Uncles has been releasing his work prolifically over the past six years, from self-released tapes on Rebellion Electronics through to reams of 12”s and LPs for labels like Earthtrax, Western Lore, Rupture London and re:st. While his sound has often tilted towards drum & bass and jungle, he places atmosphere and composition ahead of genre boundaries and tempo restrictions.

Cosmos EP finds Uncles stretching out over eight varied tracks for a broader experience compared to the usual Livity EP. Glacial ambience and richly layered synthesis guides the record overall, at times leaving drums behind altogether, but even at its mellowest you can sense the overbearing bias towards soundsystem music. The melancholic electronica of ‘Becoming’ gets underpinned by dread bass, and ‘Solace’ places a haunting steppas-esque refrain in the midst of heavily dubbed downtempo. When he does turn to full-tilt drumfunk edits on the likes of ‘Hopes & Dreams’ and ‘Love + Light’, he approaches them with subtlety and finesse, matching rhythmic flair with melodic progressions which lend themselves to introspective listening as much as full dancefloor immersion.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Tapper Zukie after taking a little time out of the musical arena has come back with an album full of great material and has called in an A list of fellow Jamaican artists to add flavour to this great set. As Tapper named the album himself ‘Bunker Buster’ it shows Mr Zukie busting back out of the studio and back in the arena in fine style.

The opening track finds his long-standing working partner Horace Andy adding his distinctive vocal style to ‘Aquarius’. ‘Nuh Fraid A Dem’ features the great Luciano, ‘The Blessings’ the mighty Michael Rose, and Little Roy adds some magical rhymes to ‘Wicked’. The soulful voice of Beres Hammond sweetens the effects of `Stress’. The killer title track `Buster Bunker’ is backed up by the Musical Intimidators and Tapper has reworked his ‘Good Luck My Friend’ track to ‘Lucky Friend’ which features the timeless backing vocals by the legendary Jamaican vocal group The Tamlins. Digging even deeper into his back catalogue he has also pulled up some classic rhythms and more existing vocals to rework over. For example, ‘The Light In Me’ features the greatly missed Ronnie Davis. Junior Rass adds his mighty roar to ‘Humble Lion’ and Junior Reid leads the charge on ‘Warrior’. Half Pint adds a musical layer to Flesh and Blood. All in all a great selection of musical ideas that also features the cream of Jamaica’s musicians, Sly Dunbar and Robbie Shakespeare, Flabba Holt, Chinna Smith to name but a few. Tapper’s son Noel Barnes (AKA Brand New) alongside Pam Hall adds some gloss to the CD edition of this release.

Such is his standing in the reggae community that a call out to Jamaica’s finest set of singers and their eager reply to add their talents has made this an album not to be missed and can sit proudly alongside and find a place in his already prodigious catalogue.

Hope you enjoy the set…….

Yellow Vinyl

How do you follow Volume One? With even more epic goodness, on glorious yellow vinyl, thats how! We open with a Liquid remix of Cru-l-t’s I Can’t Forget. Liquid has an amazing rave sound that has lasted 30 plus years & probably will last another 30 years to come. The Knitebreed manager, Paul Bradley, then gets remixed by a name long associated with KF & KFA, Dj Deluxe. The breaks come hard & fast in traditional Deluxe style, & he doesn’t let up! Then we have a coming together that can only be described as genius. TNO remixes Ant To Be‘s Just Anthem. TNO takes one of Ants “lightest” tracks & makes it his own with his distinct sound of darker hardcore. Wrapping up Vol. 2 is someone who really sits in the early rave style camp, Sub Fundation, with his remix of TNO’s Who Are U, taking a darker 93 style track & making it all things rave.

(feat. Claire Davis)

300 copies pressed

The A side was released back digitally in March. "Hope To See You Again" Which is an original song with Claire Davis on lead vocals

Better things is coming out digitally 15th July and it will be on a Ltd edition 45 vinyl. The Pre-Orders for the vinyl will be starting soon.

The B side is a killer version of her classic tune, "Better Things" The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groovebefits the positive lyrics ("I'm a better woman than I have been")

Introducing The HP's. This talent-studded Hamilton-based funk/soul collective is poised to make major moves with the release of their debut 45. The group is the brainchild of drummer/bandleader 'Parkside' Mike Renaud, the founder/owner of noted Canadian music company Hidden Pony Records & Management. A life-long fervent fan of funk and old school soul, Parkside has assembled a crack team of musicians and vocalists dedicated to his vision of breathing vibrant new life into these classic forms. Drawing inspiration from the likes of James Brown and The J.B.'s and Sharon Jones and The Dap Kings. The title pays tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of rugged authenticity. Get ready to get Gritty!

— The HP's have partnered with UK based soul label LRK Records for the release of their latest single "Hope To See You Again", featuring Canadian soul singer and LRK alum Claire Davis

— "Hope To See You Again" arrives digitally March 31st, 2022 with the 45" expected summer 2022

— The 45" single will also include a cover of the Sharon Jones & The Dap Kings classic "Better Things"

The HP's.

To the Canadian music industry, 'Parkside' Mike Renaud is best known as the founder and owner of Hidden Pony

Records & Management, now widely recognized as one of Canada's premiere talent-development labels and artist

management companies. Past and present artists on Renaud's roster include Said The Whale, The Elwins, The Dirty

Nil, Hannah Georgas, Imaginary Cities, Jeremy Fisher, Odds, and many more.

Not many are aware that this popular industry power player actually got his start in music as a drummer in a '90s

Montreal soul/funk band called Parkside Jones (the source of his nickname). When he moved over to the business

side of music, beginning with top indie label Aquarius Records, Mike Renaud packed the kit away, launching himself

into the biz with full passion, commitment, and skill.

Mike has now resurrected his kit (after 20 years), honed his chops, and emerged as the driving force behind The

Renaud recalls the spark that reignited his love of playing drums: "The first time I played them in 20 years was at the

memorial for industry comrade Jon Box at The Opera House in Toronto. I was talked into playing with Chris Murphy

Sloan, Terra Lightfoot, and the Dirty Nil guys on a version of 'Handle With Care.'"

This renewed love affair would lead to Mike's vision for The H.P.'s. From his teenage years, his favourite musical

genre has been classic soul and funk, and he has an encyclopedic knowledge of these styles. Heartened to see the

growing international community building around these sounds, Mike decided to make his own creative contribution to

the form. He recruited musical and vocal collaborators from his hometown (plus a couple of Toronto imports) for the

project, and The H.P.'s were born.

The group name, The H.P.'s, pays homage to James Brown's legendary band, The J.B.'s, with these initials

referencing Hidden Pony. The album title is a tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of grit and authenticity. Mike actually spent some time co-managing the

current J.B.'s.

The late Sharon Jones, a key inspiration for Renaud, is honoured via a killer version of her classic tune, "Better

Things." The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groove

befits the positive lyrics ("I'm a better woman than I have been").

Giving this cover extra resonance are the memorable encounters both Davis and Renaud had with Jones back in

2015. A documentary portrait of the soul great, Miss Sharon Jones!, had its world premiere at the Toronto

International Film Festival (TIFF), and Claire Davis was doing a house concert playing DapKings songs that night.

The band came across the party and jammed along, then, when one of the Dap Kings backup singers couldn't cross

the border, Claire got the call to fill in at Sharon Jones' headlining show at Hamilton's Supercrawl fest.

In a cool twist of fate, Mike Renaud was one of the organizers of that show, and was tasked with looking after

Sharon. The two bonded instantly and deeply, as Mike recalls. "While driving her to soundcheck, Sharon confided in

me that her cancer had returned. She didn't want anyone to know, as the documentary was about her conquering it,

and she didn't want people to be bummed out at the news. It was my 40th birthday that day, and Sharon actually

stopped her show to sing me Happy Birthday in a soulful way!"

Shakethehoof added "Hope To See you Again' to their playlist musicto/shake-a-hoof/the-hps-ft-claire-davis-hope-to-see-you-again-the-hoof-chats/

"BETTER THINGS" has gone straight into the UK Soul chart breakers at No 8

UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

• 180 GRAM AUDIOPHILE VINYL
• FEATURING NO. 1 HIT “ONE WAY TICKET”
• PRODUCED BY FRANK FARIAN (FOUNDER OF MILLI VANILLI, LA BOUCHE AND
BONEY M.)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON LIGHT GREEN COLOURED VINYL

Formed in 1969 as Silent Eruption, their members hailed from Ghana, Curaçao, Guyana and Jamaica. Precious Wilson, who joined Eruption in 1974, added an element to the band’s sound that led to their international success. While on the road in Germany, they were discovered by talent scout and producer Frank Farian, who is also known as the founder of Boney M., Milli Vanilli and La Bouche.

In 1979 Eruption released their second studio album Leave A Light, which contained their characteristic funky euro-disco sound. The first single release was a cover of Caston & Majors’ “Leave A Light (I’ll Keep A Light In My Window)”. The second single was also a cover version, this time the Sixties hit “One Way Ticket” by Neil Sedaka. The single led Eruption to the top ten in the UK and all over Europe.

Leave A Light is available as a limited edition of 750 individually numbered copies on light green coloured vinyl.

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love Warner Records, on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”

“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.

We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante

On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.

Unlimited Love resumes a three-decade partnership with Rick Rubin Johnny Cash, Adele. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik 1991, Californication 1999, By The Way 2002, and Stadium Arcadium 2006.

The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.

This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

2LP Gatefold (featuring liner notes). Limited Edition. Artwork by Meeuw.

A collection of personal recordings made on various synthesisers between 1989 and 2017, by Telesoniek Atelier. Huge Tip on this one!

Early feedback:

"Fascinating improvs. I loved 'Gruesse'. " Suzanne Ciani (Atmospheric)

"Beautiful music with real subtlety and depth” Anthony Child (Surgeon, Transcendence Orchestra)

"Lovely, pure synth music." Mark Pritchard (Warp Records)

"Chateuroux is mighty... A proper zoner. Flung on earth." John T. Gast

"This is a great release by Telesoniek Atelier - a musician unknown to me before now. I've been thoroughly enjoying playing this double vinyl release since i got it. Both discs are filled with amazing music that moves between abstract electronic experiments to melodic, DMT bent sounding, classical contemporary music and futuristic soundtracks from non-existing Sci Fi movies you'll wish you could see. It time-warps you from here to there then freezes the moment. It all sounds like its been taken straight from the ancient room .. you know, that one where the spirits of the great teachers live. This is very focused, unpretentious and highly emotive music . A wonderful and dreamy sound garden coming from what I imagine to be a beautiful mind . These discs will be camping out on my turntables for a while."
Tako Reyenga (Music From Memory)

"A deep sense of the symphonic permeates this record. While synthesizers form the basis of its sound, Hans Kulk shapes their timbre into uncanny acoustics and weaves them together like an orchestra. Just when you think you have understood what is happening, another layer reveals itself. Yet it keeps a floating sense of lightness throughout. A truly rewarding listening experience."
Hainbach

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts. While his great-grandfather loved to give impromptu renditions of famous opera arias, his father's tastes were more modern and Matthieu's childhood was punctuated by the sounds of Eric Clapton, Bob Marley and the Stray Cats. At age 7, Matthieu began taking piano lessons, focussing predominantly on classical repertoire. In the 1990s he took his first steps into the music profession, singing in various punk and trip hop outfits, before pursuing his love of 1930s and 40s jazz. In early 2000, the young singer-pianist began playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination of 1950s R&B music, he issued Doo Wop in 2003. Sometimes on My Own (2007) is inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!!, an album featuring a blend of covers and his own originals, with full orchestra. Matthieu Boré has performed at festivals and concert venues in both France and around the world, including the Montreal Festival, the Jarasum Festival (Korea), the New Morning and the Olympia. In 2011, he released a live album recorded at Paris's iconic Duc des Lombards. Roots (2012) was a surprising cocktail - a strong dose of New Orleans funk, from with Matthieu draws his own nonchalant style, combined with a predilection for acoustic sounds and syncopated grooves. In 2015, grammy-nominated Leo Sidran produced Naked Songs which explores the idea of pearing back songs to their defining elements. In Gumbo Kings (2019), Matthieu pays tribute to Allen Toussaint and The Meters through twelve original songs whilst his most recent release Till The Morning Light(2022) combines Jamaican ska and 60's garage rock influences.

Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

“Irreverent and playful” MOJO // “...an utterly distinctive, mental world.” The Financial Times // “From keening ballads to haunting waltzes, Paradise has never seemed stranger” Shindig // “There’s a buoyancy to even the most lacerating lines now, a liberating relief in pressing on” Uncut // Way back when, before the pandemic, and before the release of Alex Rex’s last album Paradise escaped the confines of lockdown, Alex Neilson took a break from the road and set about putting together a record of poems extracted from the collapsed goldmine of his brain. Returning to his experimental roots, Mouthful of Earth’s cutting and oft heart-wrenching stanzas are set to music largely from underground legends Alastair Galbraith, Richard Youngs and Alex’s cult experimental drone record Belsayer Time (originally released on Time Lag Records in 2006. This is the first time that this music has ever been made available digitally). And for one track, Alex reunites with ex-Trembling Bells mucker Lavinia Blackwall for some free-form experimental jazz, reminiscent of the more psychedelically unhinged moments of Cammell/Roeg´s Performance soundtrack. To quote Stuart Maconie’s sleeve notes for the record, “One of the first things I learned about Alex’s musical imagination and modus operandi was a joy in collaboration, and Mouthful Of Earth continues in a tradition that has seen him work with many kindred spirits across many genres; Bonnie ‘Prince’ Billy, Current 93, Jandek, Kan Mikami, Shirley Collins, Six Organs of Admittance, Josephine Foster and Baby Dee. The list is disparate and stellar, the results are always interesting and alive.” Continuing in the spirit of collaboration, Mouthful of Earth’s words and music are accompanied by a digital book of drawings by Kent-based visual artist, musician and art psychotherapist, Benjamin Prosser (Insta: @benjaminprosser). These are not so much literal illustrations as reactions. The combination of poems and visuals works a suite of haunted vignettes, dense with bleak humour and hallucinatory images. “The phantom hand of a lover pressed over the mouth of your mother” / “the whole gurning universe” / “the collapsed farmhouse of my mouth”. Mouthful of Earth is both visceral and corporeal, flecked with blood, sweat and beers. Or as Alex puts it "a continuous project of describing the human spirit pushed to the point of crisis”. Mouthful of Earth finds beauty in scarring and peace in torment. It’s both an assault and a balm of sorts. Life, says Neilson “is not a golden arc / It's a bent aerial / connected to a vast and terrible machine/operated by a child”. But listen hard and you will also hear beauty… “The song of yourself, roaring like a cloud, explicable only by light”. With sleeve notes by BBC Radio presenter and author Stuart Maconie, Mouthful of Earth is released on limited edition vinyl (300 copies only) and digitally via Neolithic Recordings. Reminiscent of his early work with Trembling Bells, and again featuring Lavinia Blackwall on vox, the track is a red herring; a nod towards a lighter shade of darkness.

Acid Jazz Group Label Countdown Records is proud to present 'Shake A Tail Feather' - a Vinyl/CD collection from Fast Eddie, one of the early '80s most exhilarating live groups, and a favourite of the Rhythm and Soul powered Mod scene of 1980s. Initially called 'The Investigators', Fast Eddie emerged from Billericay in the wake of Thames Delta Blues pioneers, Dr. Feelgood. Having gained a following playing the raw R&B of the Pub Rock circuit, the band diversified their sound to incorporate classic soul repertoire, alongside their own material, which is documented throughout this collection.

Significantly, the group was also managed and produced by a certain young Eddie Piller - our founder - in his first foray as a music Mogul. Consequently, this collection marks an important document in the formation of Well Suspect Records, Countdown Records and the wider Acid Jazz Story. The LP contains a sharp selection of 16 tracks from their recordings, while the CD and digital version extends this with 4 extra tracks. Their storming versions of 'Shake A Tail Feather' and 'Out Of Sight', show their love of classic club soul, while 'Help Me' and 'My Babe' prove that they could play the blues with plenty of rhythm and feeling.

Jacob Long’s third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrhythmias of dust, percussion, and yearning.
Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there’s a sense of matter made animate, of absences felt.
Long cites notions of “the studio as a dub instrument” and the melancholy of “7th chords on a fake Rhodes patch” as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed out cities, for views across rivers towards unknown shores: restless, placeless, and profound.
track listing:1. Shiny Nowhere 2. Stolen Time 3. Felt Absence 4. Oblique Ruins 5. Snowy Water 6. Rough Air 7. Slate Horizon 8. Ochre Sky 9. Fossil Painting 10. Deep Sky
press quotes for previous album Grass and Trees:
“Jacob Long’s vaporous, lo-fi ambient tracks feel like snapshots of stillness made of moving parts.” Pitchfork
“As light as a warm breeze on skin, Earthen Sea’s latest album for Kranky showcases Jacob Long’s natural sensitivity for low-key, enchanting electronic sound craft.” Boomkat
“It’s exciting to hear such a significant change in his sound without sacrificing a personal touch and sonic character.” Igloo

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.

Ten years on from a remarkable debut album that traversed genres and put the duo’s trademark melodic mastery on display for the world to see, 2022 sees Spectrasoul’s ‘Delay No More’ album more than deservedly receive its 10 Year Anniversary Repress. Now being pressed to vinyl in it’s entirety for the first time, this milestone release highlights just how in-keeping Spectrasoul’s earliest album was with the forward-thinking, energetic, and beautifully deep ethos that has gone on to define their astounding career in music. 

A diverse, experimental, and genre-bending debut offering, ‘Delay No More’ cemented itself as one of 2012’s finest electronic albums and a Shogun Audio bestseller. Fast forward ten years and the impact of the album on Spectrasoul, Shogun, and the wider electronic music scene is still one of meteoric proportions. 

Receiving mass support from Mixmag, DJ Mag, BBC Radio 1, and countless other press outlets at the time, ‘Delay No More’ went on to be remixed the following year, with the reworked project featuring Calibre’s remix of ‘Away With Me’, a release which has gone it to
become one of the most iconic drum and bass tracks of the past decade. 

Since their emergence in 2006, SpectraSoul have carved a truly unique position, not only in Drum & Bass, but electronic music as a whole. The 10 Year Anniversary Repress of ‘Delay No More’ is not only a celebration of this, but a reminder of the stunning sonic soundscape that the albums alluring, enthralling and irrevocably charming sound still exists in to this day.