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LSB returns with another EP on his imprint, Footnotes. His first solo release since his mini-album project in 2022, this time Luke returns with a few regular vocalists in store. MC Sense follows up the track ‘Pandora’ with ‘World of Ours’, while Bazil of Kinross and Luke work together for the first time since the multi-million time streamed ‘Roots’, this time with Sydney Bryce providing a female compliment.

The title track ‘Home’ and first track ‘Give You Up’ have been regulars in LSB’s sets now for over a year, and are sure to delight those who love Luke’s mix of piano, strings and melancholy at 174bpm!

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

Sneaker Social Club is pleased to direct your attention to this sparse and weighty club gear incoming from a sizeable new talent on the scene, Beton Brut.

Following on from his previous drops on Plasma Sources and Coyote Records, Beton Brut steps onto this latest platter with a surefooted sound. It’s informed by weightless grime, minimal techno and brittle electro, but he carves his own incisive path towards the hoods-up-heads-down Dancefloor.

This is stark, moody gear to get lost in — the dexterous sound design slipping around the rhythm core of ‘Tobacco Earthworm’; gleams in high-definition, but never at the expense of the eerily stripped-back atmosphere. ‘Booters’ snips up a clutch of clippings from grime and scatters them across the timeline in a scrapbook style, making a deadly, dislocated love letter to the sound in the process. Approaching mutant, hybrid club music with a considered poise, this is exactly the kind of forward-thinking bassweight gear that Sneaker thrives on.

The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely?

Itchy-O is an experiential performance ensemble that has mesmerized audiences across the U.S. and beyond since 2009. The beating heart of this fifty-plus-strong performance troupe is a batterie of percussionists accompanied by an orchestral arsenal of avant-instrumentation. Weaving a synergistic spell, the ensemble dismantles assumptions of traditional performance models to break down the barriers between audience and performer, administering a bombast of ceremonial chaos; baptizing the audience—body, mind, and collective spirit—in an elaborate, pan-sensorial ocean of music, mystery, and transcendental spectacle.
Itchy-O has shared the stage with legends such as David Byrne & St. Vincent, while luminaries like JG Thirwell and Dan Deacon have opened for the humbled brigade. Over the years, they have energized crowds as the opening act for a slew of iconic artists including DEVO, Beats Antique, and Wooden Wisdom (Elijah Wood). Their unforgettable private engagements include a legendary performance at Maynard Keenan’s Merkin Vineyards while delighting festival audiences at Riot Fest, Biennial of the Americas, the Underground Music Showcase, and Tasmania’s world-renowned Dark MOFO with enveloping processionals, pop-up performances, and staged spectacles.
In 2024, itchy-O debuted Söm Sâptâlahn, a sold-out collaboration with the Fiske Planetarium. Named for an epic set of custom-crafted gongs cast from six hundred pounds of reclaimed brass at the School of Mines and tuned to a bespoke seven-tone scale, this project birthed this latest double album. Accessible, mysterious, and meditative, it is a bold addition to the itchy-O catalogue, sure to appeal to connoisseurs of the experimental, the contemplative, and the avant-garde.

Italian Death Doom Metallers Larvae recently released their latest EP of putrid music. Now Me Saco Un Ojo is giving this cult cut of morbidity the vinyl treatment.
Filling the air with that cult atmosphere of Italian horror with a short introduction, fans of the macabre will be bewitched. This soon gives way to fetidly grisly riffs that spew forth slowly with a grotesque soundscape atop primitive drums and with vomitous vocals adding further disgust to the mix. Undeniably some of the most grotesque Death Metal you will hear, crawling like maggots under rotten flesh. Aside from mastering a repulsive atmosphere, Larvae will be noticed for having a unique take on the genre, while keeping it old school, sounding like no other band you’ve heard before. These short bursts of decay-spraying terror will surely entice the sickest freaks among you while the rest will be haunted by some estranged nightmares…
Make sure you do not miss this demo’s vinyl reissue so it can rot your collection from the inside out!

Token presents the 6th chapter of the Fuga series. Challenging new faces to complete the label's sound, Fuga VI is another focused compilation that balances spatial detail and rhythmic bite.

Skipping any introduction to dive straight into the essence of the compilation, Skjöld portrays 'Forbidden City' as a tense aquatic exploration. With pressure in the low end, he keeps the record alive by conjuring obscure pads to give dimension and intrigue to an already nervous track. This persistence is quickly met with weight; Tapefeed's 'Residual Memory' follows up to tap into the label's more aggressive side. Riddled with mechanical sound design bordering on the industrial, the Tapefeed duo creates dancefloor dominating energy that sets them apart with an all-out approach. The density of this second track feeds smoothly into Stephen Disario's 'Out Of Tune' - a drum-forward record with dispersed texture. The LA based producer puts his hi hats brutally forward to cut through the space, finding a remarkable balance between its two sides and exploiting its confrontation. Returning to the label's recognizable resonance, Merino steps in with 'Memoria' - a manic 5 minute synth loop with minimal percussion. Dealing in restraint and dissonance, Merino naturally finds a home in Fuga VI with this track before heading back into the peak time paranoia of JSPRV35 in 'Question'. Pushing up the intensity and flicking through vintage percussion lines, 'Question' is an extraverted homage to the origins of techno that embodies flair. The track drives through the middle of Fuga with ease, bouncing rhythm off a sharp bassline with thundering claps and snares. 'Catch 22' by Terminus restores balance with minimalism but pace. A hypnotic break in the second half is sure to mesmerize dancers and home listeners alike. Stuttering hats shake throughout 'Catch 22' to push the track along, keeping the harmony low and maintaining focus on the movement. With a similar tempo, Sanna Mun follows up with 'Binary Systems'. A speedrun through an acid-like bassline, the track's rhythm is obsessive and persistent as we reach the conclusion of the compilation. Fuga VI comes full circle with a ghostly track by Mode_1 called 'Lifespan', stretching time and tunneling through with booming toms and shuffled hats. Keeping the pressure high and maintaining that never ending energy is the only way to wrap up such a high energy release and Mode_1 does just that.

At this point the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago is as legendary as any of his work. And sure enough, there's still some being unearthed today. The new »Single #One« is the first in a series of four (three 7"s and one 12") taken from one of Jones' customary completely unlabelled DATs he sent to labels seemingly as fast as he finished them. Both sides here indicate that, even on what might have been throwaway efforts for other artists, Jones was constantly chasing his muse around new corners.

Side A begins with the kind of tough percussion loop often found on Muslimgauze releases, but even as foreboding synths start to swell in the background, Jones introduces a rhythmic, peppy little keyboard riff far jauntier than most things he created. Side B, meanwhile, takes Jones' looped hand percussion in a dubbier direction, but unlike other times he explored that space there are some elements (phased zaps, a slightly skanking rhythm) that, while not reggae exactly, makes this feel more like a traditional dub than Jones tended to make. Both sides stand in testament to a creator who never stayed in one place for very long.

Underoath sind seit fast zwei Jahrzehnten eine wegweisende Stimme im progressiven Heavy Rock. Nur sehr
wenige können mit ihnen mithalten, wenn es darum geht, immer wieder an die Grenzen zu gehen oder sich
kreativ weiterzuentwickeln. „Voyeurist“ ist eine Rückkehr zu Underoaths Heavy-Metalcore-Wurzeln, die sie
in den 2000er Jahren zu einer der größten Bands in der Metal-Welt machten. „Voyeurist“ ist ihr neuntes
Album und das erste, das die Band komplett selbst produziert hat. Es wurde im Studio von Gitarrist Tim
in Tampa, FL aufgenommen und enthält 10 Tracks, die schwer, aber dennoch experimentell und manchmal
wunderschön sind. Während das letzte Album „Erase Me“ aus dem Jahr 2018 eine Abkehr von ihrem
Sound war und eher ein geradliniges Rock-Album, kehrt dieses zu den beliebten Metalcore-Wurzeln der
Band zurück, von denen die Fans so begeistert sein.

Girl groups have come and gone over the years, but the Crystals’ name, along with the Ronettes, has become synonymous with the groundbreaking early-Sixties wave promoted by producer Phil Spector. As well as including some of their early recordings, the songs featured here on this 180g Vinyl set retain their period charm thanks to what one critic called the Crystals’ ‘sweet-butstreetwise vocal magic.’ File the music under Brill Building, GirlGroup Pop or whatever you choose, it wears its half a century of history lightly

Following its release in 1997, ‘Remember Me’ was cemented as an international dance hit, peaking at #8 in the UK singles charts, as well as #2 in the American Dance Chart. Instantly recognizable for the iconic Marlena Shaw vocal samples and down-tempo chugging bassline, ‘Remember Me’ has gained cult status throughout the world as a dance-floor classic. Releasing the original over 20 years ago, the incomparable track has only received one previous official remix with Dutch producer and DJ, Franky Rizardo now injecting new life into an already seminal track also

The Dutch imprint has now asked non-other than David Penn to add his magic to this sure-fire repeat player!

Madrid based David Penn get to grips with the Blue Boy classic and the results are spectacular! Some of you may have already heard it on David’s recent Live lockdown streams all over social media?! Now you have been hand-picked to help break this house anthems!

Way back when, Upgrade & Afterlife was the umpteenth release from the individual and collective forces of David Grubbs (known then for Bastro, The Red Krayola, Codeine, Squirrel Bait) and Jim O"Rourke (known for O"Rourke), whose further history has since numbered at least another umpteen or so essential listens. What is it though, wrapped up in delectable sonic amber here, that defines this Upgrade? To be sure, we hear these young men dashing through the joys of youth-their actual young youth-as well as a version captured in memory and relived with a performative touch. Time remembered as tones, with gravity gained via perceptions. The stuff of memory and sentiment as selective and potentially deceptive in their nature. Who needed "em? As part of its time-traveling function, Upgrade & Afterlife is a return to roots, but not always necessarily Gastr"s. They were more than happy to stand on branches up above other folks in order to see any next thing worth leaping for. In addition to the elder-statesman Conrad, Gastr del Sol drew upon a memorable spectrum of players for the sounds of Upgrade & Afterlife, including Anthony Burr, Steve Braack, Gene Coleman, Mats Gustafsson, Terri Kapsalis, John McEntire, Günter Müller, Jerry Ruthrauff, Ralf Wehowsky and Sue Wolf. When issued, this combination of players, parts and play - packaged in an impressively broad tip-on Stoughton gatefold sleeve emblazoned with Roman Signer"s instantly iconic "Wasserstiefel" image - became the fastest-moving Gastr del Sol record to date. A delightful result, to our way of thinking, of the band"s ability to push at the far boundaries of their music while consolidating upon pleasure points within sounds and songs. Gastr used these polarities to compulsively draw the listener intimately close with sudden injections of g-force and an uncanny interpolation of space.

Proper Monday Number is an electronic duo from Brighton, UK featuring Suzi Horn of cult DFA act Prinzhorn Dance School and producer Christoph Boseley. Their Deep clean your house EP is a sure shot of cynicism-defying DIY dance-pop spanning five tracks in 15 minutes, not a second or minute wasted. The ingredients may be familiar - mid-2000s electro and bassline, 90s house, those shitty, overused speakers in your teenage bedroom - but the attitude is ever forward. Fun with a purpose.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

The first solo release from MPC wizard and Dutch DJ Iceberg (aka Benjamin Berg) knocks itself into existence. Five tracks of unforgettable swing from the young producer, each packed with enough saturated crunch to make Roger Linn proud. If there’s one thing we know for certain, it’s that this record hits the mark right on time — surely an ode to sequencers and the attitudes of times past.

Syz launches his new label Vitalizm with VTLZM001, a 4 track sure-shot from its founder of wily club rhythms mutated anew through adventurous construction and intuitive dancefloor nous.

Club rhythms for the soul; a nourishing manifesto for the rave, and for Syz a vital spark through which energy and groove emanate. A prolific producer with a beloved back catalogue, he is no stranger to the sounds that embody the propulsive nature of UK club rhythms. Vitzalizm though is a new venture, his inaugural label founded on the promise of showcasing new and varied developments along the Syz sonic journey. It’s a wide-ranging ethos informed via a complex web of influences that continue to make afresh of club music, while also paying homage to the culture of yesteryears with small vinyl runs and limited lathe-cut dubplate specials.

On VTLZM001, the label’s inaugural release, its founder gets right to it. Down & Twist steps first with an all-round sexy affair, a 2 step mover that swivels deftly on its latin inclinations while updating the early 00’s garage template with fwd> attitude. Next, Bakayadaskunka writhes as a complex beast, busy through the broken beat while its tactile low end purrs and throbs within. Fidget goes faster, a tribal wonderland that pumps giddy yet nimble across its myriad of basslines. The Lizm sees us off, a supple percussive playground which swings playful and loose amongst a livewire of subs, weightless pads and a faint dub echo.

A succinct dancefloor statement of intent from Syz, and an exhilarating beginning for Vitalizm.

Here's a true double-A 45. The A-side, "If We Try," a new cut from Thee Sinseers finds them in a more uptempo pace the band, and thriving! With Joey Quinones and Adriana Flores trading leads on this one, this tune is sure to get the dance floors packed! The B-side, "Give It Up You Fool," features the unmistakable voice of Brian Ponce on lead and finds Thee Sinseers right in their slow and sweet pocket. It's an album cut that simply had to be put on a 45.

“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)

INSTOCK VERY LIMITED COPIES This is the single LP vinyl edition of Spacious Minds: Volume I. The animal half of the full presentation. Artwork by Jake Blanchard. Please note that the images are mockups. Are you sure you shouldn't get both volumes?

Collecting Orders For 2025 Repress

Satoshi Tomiie Unveils His Latest Ep, '12b Dub', Exclusively on Phonogramme Records Tokyo &Ndash; Renowned Dj and Producer Satoshi Tomiie Is Back With a Captivating New Ep, '12b Dub', Set to Make Waves in the Electronic Music Scene. This Four-Track Release Marks a Slight Shift Towards a More House-Oriented Sound, Showcasing Tomiie's Versatility and Innovative Approach to Music Production. Having Garnered Acclaim for His Previous Releases and Collaborations, Tomiie Continues to Push Boundaries With '12b-Dub', Solidifying His Reputation as a Trailblazer in the Electronic Music Industry. This Latest Offering on Phonogramme Records Is Sure to Be a Staple in Dj Sets and Playlists Worldwide....

DJ Support - Luke Una, Nikki Nair, Make A Dance, Boris Dlugosch, Gallegos

THIS YEARS BANGER IS HERE! After last years crossover smasher ‘Italo Disco Banger’, which picked up love from DJ Harvey, Gerd Janson and Fatboy Slim, Red Rack’em has been back in the lab, cooking up this years contribution to his ever growing, genre hopping series of ‘Bangers’. He’s hit discotheque paydirt once more with the euphoric tropical disco house burner vibes of ‘Secret Banger’. The feedback has been insane with early support from a wide range of tastemakers including Make A Dance, Nikki Nair, Luke Una, Boris Dlugosch and Gallegos, it’s a crossover, summer magic jam, perfect for those Adriatic or Balearic mornings. Secret Banger is an instant classic. Perfectly pitched for festival sunshine and late night heads down parties. It’s a ‘moment’ track, combining the biggest vocal hook this side of Daft Punk, ecstasy pads, tropical boogie strut and the trademark Rack’em club shaking sub bass. Secret Banger is a sureshot, guaranteed to give eyes closed moments to even the most frosty dancefloors. Monday is ostensibly ‘the deeper B Side cut’ but it’s also a certy club wrecker. Samples are being mad flipped people. A wacked out street soul snippet is sliced and diced before the track mutates into a huge pitched down late night jaw bothering incantation. The OG sample is hard cut into the track like a more clever than most DJ on the decks. You need this.

The Isle Of Lewis is the largest such of the Outer Hebrides archipelago, and a place where myth and folklore are abundant, The Callanish Stones, a cruciform circle reckoned by tradition to be the forms of petrified giants who would not convert to Christianity, once prompted notable chronicler of the ancient Julian Cope to pronounce himself “Lashed by wind and rain but surrounded by vibe”.

This was where Holy Scum decided to take a pilgrimage for the recording of their second album proper for Rocket Recordings, All We Have Is Never. Frustrated by the physical and logistical challenges keeping the band members from collaborating, they decided the best way forward was at the residential Black Bay Studios on Great Bernera, a two hour plus ferry ride from anywhere. “The isolation of Black Bay was our salvation, a much-needed cleanse after a year of relentless misfortune” reckons the band’s Peter Taylor. Taylor describes the Holy Scum approach jokingly as ‘No riffs’ yet this belies an ability to carve abstraction and minimalism into monolithic and ominous shapes. Whilst the band are as handy as ever with excoriating and ear-splitting experimentation - as on the feverish guitar scree that underpins the taut‘Thieves’ - they also excel in a grittily vital charge as analogous to the ballsy kinetics of Fugazi and The Ex (the primal ‘I Am The Land’) as the overcast catharsis of Killing Joke and Voivod (the infectious ‘Witches’). “The title is a nod to the fact that everything ends - good, bad, ugly, beautiful “ reflects vocalist Mike Mare (Dälek) of their most focused work to date. “That is not a bad thing - it is a rebirth every time. We can spend a lifetime 24/7 together having shared experiences but living separate realities”. “I don’t think it is nihilistic,” he adds. “The despair turns into hope for sure”.

One very handy 7" single and two monumental disco instrumental edits surely destined to get butts waggling on any given dancefloor. The A-side is swept along by a propulsive funk guitar line, neatly switching from classic 70s lushness to 21st century robotics and vocodered vocals and back again, while the flip goes for a more soul-driven vibe, the tight drums and bass pairing polished off by some delicately applied Rhodes piano, definitely the glitterball cherry on top. DJ weaponry so deadly it should probably be outlawed by some international treaty.

12" RED Color Vinyl / With Black Solid Jacket and Large Sticker
The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.

Joaquin Joe Claussell was inspired by these influences and went into the studio to create a compilation of edits and overdubs of African vibrational sounds and rhythms. The result is a collection of nine compositions that showcase the future possibilities of this influential work.

Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening

VERY LIMITED 2025 REPRESS ON BEAM OF LIGHT VINYL .

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

With Bass Temprature, rediscover on one single CD the first three vinyl EPs by High Tone: Bot Dub Seasons, Low Tone, and Bass Temperature-a total of 12 tracks that propelled the Lyon-based group into the ranks of electro-dub heavyweights. In addition to these two reissues, four extra tracks have been added, making for a 12-track album just as compelling as it's predecessor. It marks a shift toward a more roots-oriented sound while remaining firmly grounded in the electro-dub genre. The album opens with Echo-Logik, a warrior-like chant followed by a driving bassline that makes you want to move-DJ Twelve's scratches laid over the groove offer a brilliant showcase of the band's talent. The title track, Bass Temprature, follows-perhaps the least striking piece, though that's only relative given the strength of the rest. Worth noting are the mystical vocal samples in Train to Transylvania, evoking vampires and devils, while N1 Station brings a heavy psych sound, a more energetic beat, and moments that border on hard-tek. Other influences also emerge, such as the strong Eastern vibe in The Orientalist. As always, High Tone delivers a stunning dub album sure to delight ears tired of the everyday noise pollution that surrounds us.

Debut single from forthcoming full length out in May 2019. The first time we heard Bobby Oroza, it was his slow moody ballad 'This Love', that perked the world's ears and made a name for the dapper crooner that calls Finland his home. Since it's release, 'This Love' has become somewhat of an underground hit, the soundtrack to car shows and swap meets in the West Coast, numerous movies and TV shows, and it even made it to Earl Sweatshirt's most recent mixtape. This new single from Bobby Oroza picks up the tempo and showcases another side of his range with a record sure to move bodies and nod heads. The A side 'Your Love Is Too Cold' is a stomper that blends the groovy soul drumming of early Motown records with guitar that could have been lifted from a James Bond

soundtrack. Bobby pleads over the track of his decision to call it quits and keep it quits. The B side 'Deja Vu' finds Oroza leaning again into the B side ballad stylings that made him a name to check for. Heavy duty drums lay down the canvas on which Bobby's vocals paint the picture of a relationship that has come to a fork in the road. The Cold Diamond & Mink production and backing band are tight as ever and this is sure to be another classic with the slowie fans.

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

Ride bassist Steve Queralt’s debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, Memorials).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created.Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album’s dark intensity. This is most notable on the closing track, ‘Motor Boats’, where he overlays words from Julie Sheldon’s polemic poem The Same Boat (“We’re all in the same boat they say, but I would disagree”). According to Steve, these simple words of rejection “capture the reality of our times perfectly”. However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. “After a few false starts, I had started to doubt the project altogether. It was going nowhere,” says Steve. “Then, out of the darkness, Emma got in touch to tell me that she’d found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had ‘Lonely Town’ and ‘Swiss Air’.”In the meantime, Verity from Electrelane had added vocals to the song ‘Messengers’ and transformed the track. Matthew Simms, now her bandmate in Memorials, would go on to mix the finished album.“Swallow has turned out so much better than I had hoped,” enthuses Steve. “I’d fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn’t be the whole story.”

Here we go... the one everyone asks me about. And finally, after 6 years, we have done a second pressing. This time on black vinyl as the original repress that we did in 2019 was on yellow vinyl - Holy Quattro vinyl! Our old skool supporters will remember the original Kickstarter Quattro which spawned many bundles by us over the years (and even a few other labels have nicked the name too!) And this is a heater for sure - a much loved jungle release from 1993 that originally came out on Underdog Recordings. Created by Dave Wallace (Aquasky/Mad Dog/Rave Doctor etc) and Shaun O'Hara (Aurora) in Bournemouth.

The Chess/Cadet EP features songs by Laura Lee and Irma Thomas, recorded in the late ’60s at FAME Studios, along with some of the most sophisticated productions from Cadet, represented by Terry Callier. All tracks are originally unreleased and are making their debut on 7” vinyl.

Breakbeat Paradise Recordings is back with another funky edition of their Toxic Funk series – this time welcoming back a true Nu Funk legend Umbo who has cocked up 2 massive funky soul nuggets. Umbo has been around since the early Nu Funk days with releases on labels like Good Groove Records & Timewarp under his belt as well as featuring on the Christmas Bootleg Bells Vol. 4 right here on BBP. The grooves and breaks are center stage on both cuts of this Toxic Funk Vol. 18 - with No Sugar taking on a classic soul jam while the Saoco Root goes all in on jazz meets the funky drummer and catchy Beastie rhymes. The timeless sounds of both these funky bangers are sure fit in nicely in any funky DJ crate. BBP is on point once again delivering you the funky beats and breaks on the planet.

Having James Shinra back on AF is always a cause for celebration, and doubly so this time because we present 'Meteorites', his second album following the highly acclaimed Vital Heat (2018). During 2023-24, James uploaded a series of digital releases called 'Meteorites', a set of dreamy and introspective tracks where the artist showed his evolution and maturity, refining the emotive sound that's his trademark and has garnered so much praise in recent years. We should do justice to that material, giving it a worthy treatment/format, so we decided to release all together. James has revisited and reworked many of the tracks for the occasion, polishing, adding, removing... and the result is 'Meteorites', the album. A MUST for all braindance sensibilities and nonconformist electronic heads. We're sure it will remind you exactly why you loved this talented guy for so long and why he's one of the most uncompromising artists working in electronic music these days.

2023 Repress

DJ Koze - with his friendly and sometimes slightly melancholic take on the world - is one of the greatest auteurs of club music today, and one of the few internationally active DJs who dares to make music that has relevance beyond the dance floor. During the 70-minute journey on his DJ Kicks - the 50th edition - Kosi
Kos manages to establish a uniform color even though genres alternate in a way that is rarely heard on a mix CD: the stripped down hip hop of Madlib, brutalist Berghain techno, timeless songwriting, floating indie-pop and outlier numbers that oscillate between absurdity andmelancholy. Koze's disregard for the stylistic yoke presents him with an immense challenge. Hence, almost all the tracks are more or less edited, and one is fully rhymed (Session Victim: Hyuwee).Koze rambles on here himself: "I didn't want to kick around ophisticated knowledge, but rather try and weave together some good gems that would make sense to anyone, even people who aren't necessarily music nerds". But this is blabbing that you can count on, also because he approaches the term "mix" from a different angle and doesn't even try to make something fit that doesn't fit: "During the day, I don't need to hear anything that's mixed on the beat. I put the focus on making sure that it works harmoniously - the idea is more to create the impression of a radio show, like people such as John Peel did so uniquely. There is a giant cosmos of music and it runs through my filter".

Bergen-born Bare Folk's songs belong to the ballad genre, with clear elements of jazz and folk music. With harmonious, original melodies, the mood ranges from the melancholic to the life-affirming. Inspired by the greats of Norwegian ballad music, Bare Folk vitalizes the connection between poetry and music. Bergen's very own folk jazz song band Bare Folk has already been critically acclaimed and established as something unique on the music scene in the city between the mountains. Nevertheless, Bare Folk plays songs that songs should sound well-known but fresh, wistful but hopeful, humorous but serious. Their debut album is called "Noe Tror Jeg & Noe Vet Jeg" (Some things I think & some things I know). No surefire title, but it is sure that it contains something for every taste. Here you will find everything from socially critical satire to traditional harp songs to love songs - and everything in-between in beautiful harmony.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).

At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!

Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.