quête:t time

Soul Jazz Records are releasing this latest Studio One compilation which features non-step 100% stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a fitting tribute to Clement "Sir Coxsone" Dodd and is a who's who of Jamaicaan Reggae.

Jackie Mittoo is one of the defining figureheads of reggae music!
From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the sixties,
writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul
Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based
upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.

The Mysticisms label welcomes Coral D aka Duncan Stump for a debut outing here that marks the first new music to be part of the ongoing and most excellent Dubplate series. This artist has a long history of crafting "deep dub electronic swing" in his roles in Mock & Toof, FX Mchm and his 6000 Degrees project. This one finds him bringing some dub reggae influences as 'Dissolves' is built on a chugging rhythm with smeared chords. 'DR 55' is then a masterfully laidback digi-dub groove that warps space and time and so leaves you utterly hypnotised.

Dub techno don Steve O'Sullivan's Mosaic label is back with a new dubs series and vol 1 kicks things off with a real doozy on lovely red wax. The boss himself offers up a Bluetrain special edition dub of Hidden Sequence's 'Synapse' which is all icy lines and liquid rhythms which make you think of some frozen lake on a misty morning. Sub Basics (Temple of Sound, Lion Charge Records) opens up with a fresh dub laden track with rippling chords, tons of echo and rolling drums on 'Quarters.' Both are timeless dub outings, as you would expect from this label.

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

The magic duo Rydm Sectors (Nicola Loporchio and Michele Lamacchia) is back on Cosmic Rhythm and you know what to expect from this. Nothing but proper deep house vibes, just in time for the summer season.

Bunker New York luminary Abby Echiverri joins the Patterns of Perception imprint with her Deformation EP, a diverse collection of playfully psychedelic techno tracks infused with a radiant cosmic energy.

Produced in 2021-22, Abby drew inspiration from the captivating physics simulations her partner was working on at the time, ultimately imbuing the music with an ethereal atmosphere that permeates the entire EP, and from which the tracks derive their names.

PTN03 presents a cohesive yet diverse collection of tracks, blending psychedelic energy with delicate and profound moments. Abby's music carries an almost hopeful quality, with drum programming that leans towards groove and shuffle, and the incorporation of diminished chords and progressions that pose questions to the listener. The Deformation EP is an intricate record that showcases Abby Echiverri's distinctive, three-dimensional approach to techno: one that never feels oppressive, but calls to mind a sense of exploration and freedom.

Martinou lands on Nous'klaer Audio with his debut album RIFT. Emerging from a waking forest entranced by sun-rays reflected in the morning dew and the sound of rustling leaves in the rising wind. RIFT is a captivating road through the riddles of an imaginary landscape, full of noisy and organic textures bound by hypnotic and soothing melodies. From the calm opener of Absorption (Citywide) to the breathtaking Cirrus Apparition, and from the piercing tones of Velvet back to the closing act ...in all it's splendor. An album consisting of twelve tracks for every moment, a triple vinyl suited for warming up and tearing down a dancefloor, but best listened to from start to finish. Artwork by Romee van Oers. Including download code.

Three timeless tracks from the esteemed D.C. LaRue back catalogue get brand new remixes from three equally exciting producers to give a modern spin to these ‘70s classics.

LaRue joined the music industry by recording two top 40 pop records influenced by the teen-idol era. In his early adulthood, he began writing songs about the fast-growing club and bar subculture he frequented where the most outcast of society’s young and marginalized could safely congregate after being ostracized in work, church, school, and often family. In this relatively brief selection of LaRue classics, contemporary remixes paradoxically bring out the timelessness of his songs, in tone, message and musicality.

First up, ‘Do You Want the Real Thing’ gets a fresh update from re-edit royalty Opolopo in the style of the lush yet sharp Motown and Philadelphia production pieces that inspired the arrangement originally, still resonates as a nightly inner dialogue or negotiation, another of LaRue’s literary signatures.

‘Let Them Dance’ greeted in its time as a one of the breakthrough moments of new music technology, is reinterpreted by Dr Packer mainly with its live acoustic tracks, also retaining bright, rhythmic synthesizer hooks with results that are still true to his intentionally oblique lyric, a novelistic portrayal of the drug dealers, the LGBTQ+ underground community, and the powerful upper class elite that made up the multi-racial, socially integrated crowds on the dance floors at the height of disco.

Last up, ‘Indiscreet’ from LaRue’s 1976 concept album, ‘The Tea Dance,’ tells much of the story about how disco had already birthed its own far more popular and influential successor form, Hip-Hop, by the time it was declared dead by the superannuated establishments of the radio, media, and record businesses. Released in a highly limited, personally inscribed 12-inch 45 rpm edition for a select list of top disco DJs, its complex, elastic polyrhythm made it as irresistible to younger black DJs and breakdancing teens as any of the year’s other big street breakouts. Only Good Vibes Music head honchos and Scotland’s finest The Knutsens give it the magic touch for the modern dancefloor.

Official re-release, retrieved from original cassette tape (1988). First time on vinyl! Includes Turkish musicians like jazz & percussion star Okay Temiz.

Brought to you by the compiler of the Saz Beat series as well as the Bosporus Bridges series.

A Danish-Lebanese Afro-American who has learned Turkish and knows how to play the saz? Who entered the Anatolian Pop scene in Istanbul right in the heyday, the early 1970s? And who got so much musical credit that the renowned Turkish producer Nazmi Senel released a solo album with him in 1988, recorded in Istanbul and including musicians like Turkish percussion star Okay Temiz? Sounds pretty unlikely. Sometimes miracles happen and highly improbable music gets released. A person with a diverse heritage as Nyofu Tyson can be seen as a 'melting pot', as a 'synthesis'. Yet, he can be also seen as someone who is able to step out for new paths.
This is the case for TÜRK LOKUMU - TURKISH DELITE. Like nobody before, Tyson connects and opens up Anadolu Pop towards a whole range of styles: Synth-Pop, New Wave, Reggae, Hip Hop/Break, Latin, Disco Boogie… He shows us how vital, compatible and versatile one could think Anadolu Pop at the end of the 1980s. The compositions are basically all Türkü-s, traditional Anatolian folk songs, yet updated with a poly-cultural music practice, which involved a lot of the then current musical trends. So, this is Turkish folk music and it has at the same time all what you like about the late 1980s pop music: cold electronic drum sounds, crisp-flashy synths, crunchy bass - all in contrast with warm distorted saz tones, wooden Turkish wind instruments, and a disco-soul proven female choir. This is crazy music. This is a miracle. This is Anatolian-Synth.

“Session Victim debut on Rhythm Section Intl with an EP of understated but highly effective jazzy house rollers“

Having cemented themselves as firm favourites on the Rhythm Section dance-floor over the years, the German duo step forward to present their debut EP on the South London label: “ Basic Instinct”.

Known for their unparalleled energy when performing live or DJing, Hauke and Matthias fly the flag for sample based, soulful house music and a commitment to the art of vinyl DJing. With the never- ending search for the perfect beat at the core of what they do, it was no surprise they found a deep affinity with Rhythm Section INTL over years of playing for each other, jamming in the studio and crossing paths at festivals and airports around the world. In short, this record was an inevitable culmination of two passionate, like minded groups, a match made in Heaven and a long time coming!

Despite hailing from the techno meccas of Berlin and Hamburg, Session Victim are direct descendants of the German Jazzy House masters, tracing inspiration from the likes of Jazzanova, Soulphiction & Compost Records - the likes of which have gone on to inspire a renaissance of this more soulful sound in German clubs, spearheaded by labels like Tartelet and Toy Tonics - the latter of which the duo recently released an EP with.

This latest effort on Rhythm Section INTL is a masterclass in restraint, demonstrating a deep understanding of dancefloor dynamics, putting the maxim ‘less is more’ to great effect. The
opening track, ‘Trying To Make it Home’ is the most immediately engaging cut: a double bass riff drives along a Kerri Chandler-esque filtered piano pattern which gives way to a soaring Gospel

Vocal , allowing the groove to take control as flutes, strings and occasional guitar licks meander in and out of the mix to create a real ‘heads down, arms up’ moment for the dancefloor.

Singular Texan musician Craig Clouse hurtles unstoppably towards the 20th birthday of his dancefloor-splintering electronic project Shit And Shine, releasing a landmark LP, his first full-length for The state51 Conspiracy, ‘2222 And AIRPORT’. Acid house, minimal techno, electro, funk, krautrock, hip hop, found sound, spoken word, live percussion and industrial are blown apart stupendously and then reassembled – mad-scientist style, in a way peculiar to Clouse – into 13 hypnotic and transportative tracks.

Lead single SWISS, out 24 March, is a gloriously minimalist funk jam that sounds like the exact point at which someone turns the lights off at a lowkey house party and a wild night for the ages gets under way. An almost scornfully skeletal riff, sounding like a misfiring Cyberdine Systems Model 101 summoning up a Prince circa Sign “O” The Times riff while crashing head first into the hyper-processed early work of Prefuse 73, also featuring a cheeky sample of revered Mancunian DJ Luke Una talking about “existential fucking darkness”.

This is followed on 4 April by INFINITE SHITE, arguably the epic central track to the album, is a Shit And Shine banger for the ages, its dancefloor affect, undeniable. An unforgiving, pulsating Byetone-style bass drone worthy itself of being blasted on a Funktion-One rig, is just the background for a colossal acid b-line, destroying all in its path.

Micro details bristle at the liminal level, threatening to only reveal themselves to those in a club, those listening on headphones or those experiencing a heightened sensory state.

A seismic, cinematic double dose from two sonic veterans with previous in Wire, Electrelane, and Better Corners. MEMORIALS’ kaleidoscopic debut covers broad musical territory, encompassing protest songs, fuzz-flooded pop, searing drone, and psychedelic freakouts whilst carving out a sound that is uniquely their own.

Both halves of this dynamic double album were originally conceived as individual film soundtracks but once the multi-instrumental duo of Verity Susan & Matthew Simms brought ‘Music For Film’ into a live space, the desire to shape it into a cohesive whole was more than they could resist. The resulting, intoxicating, musical odyssey can be viewed independently from the associated films and stands proudly as an ambitious artistic statement.

“The music we like and admire ranges from challenging to really tuneful, and we try to bring all that together in a way that sounds natural.” - MEMORIALS

‘Music For Film: Tramps! & Women Against The Bomb’ – is scheduled for release on May 12th 2023 via The state51 Conspiracy. The limited double LP (500 only) comes in an embossed reverse board sleeve and indie shop editions will also include an exclusive poster.

Following up on his much acclaimed debut album ‘Opal’ released in 2022, Batu heads into a new year introducing A Long Strange Dream : a new imprint dedicated to his spontaneous musical explorations, conceived with the aim to follow curiosities and share his own music in a back-to-basics and spontaneous fashion.

The inaugural release « For Spirits » is packed with some of the Bristol based producer’s most psychedelic dancefloor studies to date. Flowing seamlessly as a whole piece, this long-form EP showcases Batu’s versatile and deep personal sound, as well as a riveting talent for electronic experiments ranging from trance-inducing ambient to peak-time techno wreckage.

Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.

The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to.

"Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes.

Growing up in a small village in southern Germany, Bastian Epple was never interested in kitschy folk sounds, rather he took solace in the time he would spend meditating to repetitive and hypnotic patterns. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to tread on this self-taught path of developing his own musical language. This led him to start experimenting with a tape recorder and layering sounds with non-musical samples to eventually working with a DAW.

Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe and graduated with a diploma in film and documentary media - where he now works as a freelance filmmaker and lecturer at Stuttgart Media University. However, this never stopped him from creating and playing with wide-eyed sounds, eventually amassing a vast collection of tunes and finally emerging from this anonymity.

Utilizing modular synth, self made tape echos, synthetic sounds, recordings of ethnic percussion and guitar, MinaeMinae understands musical material similar to documentary footage which he would splice, repitch, and rearrange intuitively into captivating worlds."

What can't be said about Funki Porcini. From doing Film scores to the surreal live performances with his recent 'Laserium' tour.

An Incredible album of weird & wonderful ridiculousness. An exclusive first time on vinyl, collection of Funki's Famous Fat ones. A fusion of downtempo to eclectic jazz cuts & horns with b-boy latin funk breaks with elements of blissfull strings & melodies throughout.

Funki Porcini delivers his most Incredible vinyl, buffed & ready to play. The most joy you will have with a 12" since 'Lets See What Carmen Can Do'.

Cosmic afterburners dialled up to the max, Pamela Records voyage out to the ends of existence with their latest four track trip from Jo Sims. Taking the lead leap of faith is esteemed producer, remixer and DJ David Holmes, who provides a signature cinematic remix of the title track ‘Bass – The Final Frontier’. Like the climax of a sci fi space odyssey, Holmes molds the track into a synthtastic epic with otherworldly vocal refrains ringing around your brain and body. The original mix is up next, a new beat flexing stomper that will have any crowd begging for more.

Flip it for darker, twisted chugathon in the form of ‘Demons Of Dance’ before the trip hop tinged, downtempo delight with a distinctly space age touch ‘Mumbo Jumbo’, takes the final slot.

DJ Feedback:

AXEL BOMAN
Ouff amazing 12" !!!!!!! love love love it

JD TWITCH/ OPTIMO
Excellent stuff!

RON BASEJAM
Ruddy hell, Holmes with the spirit of weathers. love the hi-fi mixdown too, the music providing the power. epic.

JACQUES RENAULT / LETS PLAY HOUSE
Wow, demons of dance and the final frontier...killer 4 tracker

HOT TODDY/ CRAZY P
The David Holmes mix is superb!

EDDIE C/ RED MOTORBIKE
I love this!! The David Holmes Remix is outstanding!

JUSTIN ROBERTSON
Loving this very much

MAKE A DANCE
Huge yes from me. Loved the first release on this label so nice to see it back with more fire

PBR STREETGANG
Really feeling this e.p. every track is strong, and the DH remix is stunning. Can’t wait to play them out.

JKRIV / RAZOR-N-TAPE
I really like the machine boogie vibe of the original Bass and that remix really takes its time and builds to a beautiful peak. All winners here

SUB CLUB HARRI
Lovely stuff

LEO MAS/ AMNESIA
The Final Frontier (David Holmes Rmx) is great, love it

JAYE WARD
YES!!! Glad there’s another Pamela! David Holmes mix is deep and lustrous.. REALLY love the OG’s tougher more dance orientated version.. love the other two tracks too especially mumbo jumbo.. brilliant release!!!

Communique Records USA re-issues the sublabel All Ears. Starting with AE002 - Timeblind aka Chris Sattinger from 1996. This high demanded record will be our in September on 180 Gramm vinyl (re-mastered and re-recorded from original DAT). Highly recommended!

Reissue of Terrence Parker's fantastic EP from 95' on his own Intangible label remastered and sounding fresh as ever.

Classic Detroit house music that is both timeless and essential!

'BATSUMI’s 1974 classic. Repressed at Pallas in Germany on 180g black vinyl. Cover printed on reverse board and includes printed inner sleeve with liner notes from Francis Gooding. Initial copies shipped with exclusive 30cm x 30cm print of Batsumi performing in 1974.

Batsumi is a masterpiece of spiritualised afro-jazz, and a prodigious singularity in the South African jazz canon. There is nothing else on record from the period that has the deep, resonant urgency of the Batsumi sound, a reverb-drenched, formidably focused pulse, underpinned by the tight-locked interplay of traditional and trap drums, and pushed on by the throb of Zulu Bidi’s mesmeric bass figures. The warm notes of Johnny Mothopeng’s guitar complete a soundscape that is at once closely packed with sonic texture and simultaneously vibrating with open space, and in whose shimmer and haze Themba Koyana and Tom Masemola soar. A sonorous echo emanating from an ancient well, reverberant with jazz ghosts and warmed by the heat of soul and pop, Batsumi is nothing short of revelatory.

Many groups from this period did not issue recordings at all, and Batsumi are unusual in even having left an official recorded legacy. Out of print since the 1970s, and never issued outside of South African in its entirety, Batsumi is a landmark South African jazz recording, and a key musical document of its time.'

Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the centre of reimagining the limits of rap.

Alex "Omar" Smith has never been one for modesty, so we shouldn't be too surprised that he's called his latest full-length - his fifth in total - The Best. To be fair, he is rather good at producing high-grade deep house, and here unveils another eleven gems. Interestingly, he's recruited an impressive cast-list of collaborators and guests, including Norman Talley, Kyle Hall, OB Ignitt and, most surprisingly of all, Bristol-based Tom Bug. Highlights are plentiful, from the dusty afro and blues influences of the tribal "Chama Piru's", and hazy, Rhodes-heavy vocal cut "AhRevolution", to the hip-wigglin' disco-house influences of "Seen Was Set", and retro-futurist, Inner City style Divinity hook-up "On Your Way".

Hailing from the seaside communities surrounding Enoshima, a small island located 50 km southwest of Tokyo, Maya Ongaku is a ragtag collective of local musicians whose brand of earthy psychedelia transcends widely beyond the roots of their inner souls. The name derives not from any kind of ancient civilization, but rather a neologism defined as the imagined view outside one’s field of vision. The band—currently a trio of Tsutomu Sonoda, Ryota Takano, and Shoei Ikeda—finds sanctuary at the Ace General Store, a beachy vintage shop and salon-like space just hidden from sight from the bustling, touristy riverside Subana Street. Between discussions on music and art, curating the vinyl section and manning the register, and chatting up with locals young and old, the members find time to jam and record their spontaneous ideas in the studio tucked away in the back. It’s in this unlikely setting where Maya Ongaku finds its origins, the culmination of what Sonoda describes as 自然発生 (shizen hassei), meaning spontaneous generation, or the supposed production of living organisms from nonliving matter.

Approach to Anima, the group’s debut album released on Guruguru Brain, finds Maya Ongaku building a foundational groove while tapping into their innermost psyche. Sonoda’s malleable guitar and vocals, Takano’s sinuous bass lines, Ikeda’s floating woodwinds, and a sprinkling of delicate percussion—all coalesce into an aural experience that’s assertive yet abstract, calm but unsettling. The slow building, sax-laden “Approach” serves as an introduction to Maya Ongaku’s world, while the appropriately-named “Water Dream” floats its way toward the gentle finale of “Pillow Song.” It’s a concise distillation of their many interests and influences, from Neo-Dada and Fluxus, to where contemporary art intersects with the development of modern recording technology in the ‘60s and ‘70s.

As the title suggests, Approach to Anima is not intended to be a terminus; it’s merely the beginning of an exploration. The three childhood friends that comprise Maya Ongaku are always looking beyond the confines of the idyllic but rapidly gentrifying enclave of their beloved Enoshima. Feeding off of the energy that still radiates from the triumphant, decade-long journey of their label bosses’ band Kikagaku Moyo, who rose to global prominence from scrappy beginnings busking on the streets of Takadanobaba, they hope to go wherever inspiration takes them, to anywhere around the globe where their music can find a home.

Ultimately, Maya Ongaku’s uninhibited world-building will make it possible for us to see the unseen, expand the possibilities of the naked eye—all through the unbridled vibrancy of their music.

Amsterdam based musician/producer Djosa (long time band member of Arp Frique & The Family) joins the Rush Hour Store Jams imprint with two uplifting songs. The legendary Ronald Snijders is featured on ''Vampiro" with whom he (together with Arp Frique) made the documentary Easy Man and the album The Nelson & Djosa Sessions. TIP!

Please note: Due to an unfortunate production mistake, the tracklisting on the labels and sleeve are in the wrong order. The correct order is: A. Botanica Obscura and B: Vampiro (feat. Ronald Snijders).

The legendary Ultramagnetic MC touches down in London for a one-away collab with We Are The Horsemen, featuring the one and only Kaidi Tatham.


What you sayin’, Kool Keith...? Enter your spaceship for a transatlantic meeting of minds as the legendary Kool Keith links up with We Are The Horsemen (Outernational Sounds head honcho Harvinder Singh Nagi and producer Sub One) and the great Kaidi Tatham for a future-jazz flavoured trip through the great MC’s London adventures.

Kool Keith needs no introduction to hip-hop heads worldwide. As one of the greatest MCs ever to touch the mic, Keith has never stopped innovating and progressing. From his days in the seminal 1980s Bronx unit Ultramagnetic MCs, through his pioneering development of new conceptual characters and styles in the 1990s (Big Willie Smith, Dr. Octagon, Dr. Dooom, Black Elvis), to his continuous run of radically independent recordings in the 2000s and beyond, Kool Keith defines rap longevity and artistic originality. No one else in hip hop has a comparable record of continuous reinvention, conceptual boldness, and stylistic panache.

And after four decades in rap, Keith is still one of the hardest working rappers in the game, perpetually seeking new sounds to spit on and new collaborators from across the musical spectrum. Fresh off the acclaim for his new Black Elvis 2 release, the protean MC has touched down on Outernational Sounds for a unique collab with We Are The Horsemen and Kaidi Tatham. ‘London Is The Place’ finds Keith riding the Horsemen’s atmospheric, break-toughened riddim and reaching back in time to drop kaleidoscopic, stream-of-consciousness impressions of the Ultramagnetic MCs infamous 1989 tour, before flashing forward to the present in order to namecheck Honest Jons Records, saxophone star Nubiya Garcia and master keyboardist and broken beat pioneer Kaidi Tatham, who contributes trademark jazz keys and bruk steez to the AA side remix. The 12” is closed out by a third version, the Horsemen’s own Kool Jazz Mix, bringing see- sawing organ stabs and a neck-snapping Ultra-sampling hook.

Kool Keith, Kaidi Tatham and We Are The Horsemen, taking it higher and overcoming the pressure with ‘music so progressive’, to quote Keith himself! Limited press – don’t sleep on this one!!

Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis’ second full length album and her most considered work yet. St. Louis’ debut If Only There Was a River seemed to emerge fully formed out of the recesses of her mind; a gritty, mesmerizing affair, filled with jagged edges and ghostly apparitions. The type of record that announces a new voice; one haunted by what has come before.

But this time, St. Louis is no longer concerned with what could have been and sets her sights to exploring what could be. It’s an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime.

“It really compelled me to surrender to the unknown,” she says. And in this surrender, she found liberation. St. Louis is more self-assured, open-hearted and ready to say what she wants. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express.

This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits).

In the Air has the sound of a joyous consideration of the present moment; a quiet morning revealing a new snowfall outside, steam coming from the kettle, just before it whistles, St. Louis with her guitar, staring out the window, with a few free hours before work. She’s reflecting on the scene in front of her, imagining the times yet to come. You can hear it; she’s a long way from the noisy bars of Los Angeles, the rigors of the road. As she intones in “Rest”: “You spend your whole life believing in the chase. And then you realize that being somewhere doesn’t matter like it used to.” She doesn’t need a river to carry her anymore ... She’s in the air.

Hailing from Macclesfield, Cheshire, and growing up in Cheadle Hulme, John Mayall had already made a name for himself on the Manchester blues scene before relocating to London in 1963 at the urging of Alexis Korner.

Following the breakup of The Bluesbreakers in 1968, Mayall took a three week break in LA, and it proved an eye-opener for him. As a result, Blues From Laurel Canyon was a concept album of sorts, a view of a Brit Abroad at a time when it wasn't de rigueur to travel. 2401 especially is an incredible confection – acknowledging Cream, foreseeing Led Zeppelin; Mick Taylor's slide guitar would soon be heard in the Rolling Stones. Fly Tomorrow is a nine- minute blues- rock tour de force.This re-issue faithfully replicates the original 1968 Decca Records UK stereo release with gatefold sleeve and is pressed onto high quality 180g vinyl.

These records contain some of the most storied names not just in British, but world music. From a bunch of school friends setting out to be 'the British Jefferson Airplane', over the course of their first quartet of releases, the group metamorphosed into the leading exponents of British folk rock. In the way American folk and blues had looked back to gospel songs and spirituals, Fairport mined a seam a traditional English folk song, and then combined them with rock rhythms to create something ground- breaking and quickly emulated.

For many, this is the first time the considerable talents of Richard Thompson, Sandy Denny, Ashley Hutchings, Ian Matthews, Dave Swarbrick and Dave Mattacks would have been heard on record.

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry.

The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.
Cable Ties are dedicated to their local community and independent networks, and to playing diverse and inclusive shows. They have toured Australia a number of times and have developed into a lean and efficient touring band who deliver powerful and meaningful shows. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. They have also self released three 7” singles which have all sold out. The debut album is on its third vinyl pressing.

The band toured UK/Europe in 2017 supporting Jen Cloher, and played Punk’d Festival in Berlin. They returned to the UK in May 2019 to play The Great Escape and shows with Tropical Fuck Storm and Amyl & the Sniffers. In Australia they played Bigsound 2018 and festivals such as the national Laneway Festival tour in 2018, Boogie Festival 2018, The Plot 2017, and Meredith Music Festival in 2016. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise.

Bound to Be is Power POP veering from muscular rock songs to languid pop confessionals, from stunning atmospherics to raw intimacy. Corvair is a husband/wife duo from Portland, Oregon. Threading together 70’s pop, 80’s synth rock and 90’s indie rock, with influences from Berlin-era Bowie to Blondie, Lee and Nancy to the Breeders, Corvair’s evocative power pop is timeless and resonant. The duo’s second album, Bound to Be, veers from muscular rock songs to languid pop confessionals, from stunning atmospherics to raw intimacy, held together by sharp lyrics and potent imagery. Naubert and Larimer have previously recorded or performed on more than twenty albums. Larimer’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band and radio-debuted by the late John Peel. Naubert is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, The Service Providers, and the critically-lauded Ruston Mire, since 1995. Bound to Be is the duo’s second album and will be released in June 2023 on Paper Walls and the cult indie pop label Where It’s At is Where You Are records out of London, UK. It features Larimer and Naubert on vocals and instruments, along with Northwest powerhouse drummer Mike Musburger (Fastbacks, The Posies).

Five years after the release of their last studio album, legendary UK musical institution, Soft Machine, return with a brand new CD/LP,

Other Doors. Boasting new material and two numbers drawn from their extensive historical repertoire, Other Doors finds the band on their usual fiery form.

Featuring John Etheridge (guitars), Theo Travis, (saxes, flutes, Fender Rhodes piano, electronics), Fred Thelonious Baker (Fretless bass),

John Marshall (drums), Other Doors also features two guest appearances from long-serving bassist Roy Babbington, who retired from the band in 2021.

Other Doors was recorded at Temple Music Studios, a facility owned by the late Jon Hiseman during July and August 2022.

It’s a location of which the band is particularly fond, explains John Etheridge. “Working at Jon Hiseman’s studio was special,

especially with Ru Lemer who is a brilliant engineer. He’s fantastically quick and that’s very good as we record mainly live in the studio. It’s come out really well and I think it sounds great.”

On Other Doors they’ve revisited the very first album, originally released in 1968, to include Kevin Ayers ‘Joy Of A Toy. Fred Baker, makes his studio debut with Soft Machine.

A well-known figure on the Canterbury Scene not only is he the perfect choice for the group but he’s also is a long-term fan of the repertoire.

“The way I look at it is that this is all great music which we’re continuing to preserve and keep alive as we play it but also we’re adding to it all the time,” he explains.

The idea for revisiting the number was Theo Travis’ he says and has been part of the band’s live setlist for a while.

The album also contains Penny Hitch, a track originally heard on 1973’s Soft Machine Seven.



If the album ushers in a new member in the shape of Fred Baker, it also acts as a fond farewell to drummer John Marshall, who joined Soft Machine midway through the recording of 1972’s Fifth.

At the age of 81 Marshall has decided to retire making Other Doors his final studio album with the group. “I’ve known John since 1975 when I first joined Soft Machine and of course,

we’ve worked through the years together intermittently ever since. His drumming always meant a lot to me,” says Etheridge.

“We worked over three days in the studio and John played great. It sounds terrific.”

Indeed, Marshall is on whip-cracking form throughout the album bringing his trademark musicality and decisive presence.

With Other Doors, he brings his distinguished career to a rousing conclusion.

Intense, celebratory, and consistently impressive. Other Doors is the sound of a group determined to press forwards with an

integrity and sense of purpose that’s quintessentially and definitively Soft Machine.

Salt Peter, by Ruby (AKA Lesley Rankine), was originally released in 1995 to critical acclaim under the trip-hop and electronica tags,

quickly becoming the soundtrack to many a student, clubber and vinyl junkie’s life.



Roll on 25 years to find Rankine & her brother, Scott Firth (bassist with PIL) in Covid lockdown together following the death of their mother. What else would they do but make some music?



So, while noodling around with some ideas one night, Rankine remade one of her old Salt Peter songs and was so pleased with the result she decided to do the whole album.



Rather than simply remixing or remastering the original album she decided to rebuild it from the ground up with completely new production, arrangements and vocals.

With Scott’s additional production, engineering and mixing, Salt Peter 25 is a completely different album from the original, but still with Rankine’s distinctive vocals

and her ear for the quirky and the dark. With densely textured sounds and uncompromising arrangements, Salt Peter has matured into an exciting new and unique animal.



Salt Peter 25 is a deeply personal album, created during a very difficult time and so the cover, fittingly, features a striking photo of Lesley and Scotts’ mother,

as well as other family photos, again echoing the aesthetics of the original album.



Now released on delicious orange double vinyl with a beautiful gatefold sleeve, featuring additional art by Toronto based designer, Henry Faber.

The fourth release in Fu Manchu's 30th Anniversary vinyl reissue series, No One Rides For Free, is a new vinyl specific remaster of the band's debut album. These songs are the only recordings of the band's line-up of Scott Hill (vocals/guitar), Mark Abshire (bass), Eddie Glass (guitar) and Ruben Romano (drums). The 8 song collection was recorded on April 16 and 17, 1993 at Sandbox Studios in LA, produced by the band along with Brant Bjork. This reissue was remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on red vinyl with white splatter and the newly designed gatefold package includes never before seen photos of the band and flyers from the shows of the era. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster.

Third in a trilogy of LPs of Library Music miniatures from composer and multi-instrumentalist Daniel O’Sullivan (Æthenor, Ulver, This is Not This Heat, etc) following 2020’s Electric Māyā and 2021’s Fourth Density. For heads, the term “Library Music” in 2021 might evoke dodgy Italian gray market LPs and crate diggers hunting for “funky breaks” - but London’s venerable KPM Music is working with groundbreakers like Daniel to open up new avenues for composers to experiment. The 15 tracks on “The Physic Garden” are fully-formed and orchestrated compositions, which would be highlights on anyone’s LP, never mind as incidental music. Of the music, Dan says: “The Physic Garden is an album of diverse instrumentals inspired by a swathe of verdant vistas from manicured gardens and follies to urban common land, overgrown and forgotten. Convalescent memories in the shape of psychedelic auditory botanics.”

Key tracks include the droning acoustic folk of the title song; the Canterbury-esque rolling horn and woodwind melody of “Return the Heart” (with expert drum kit from Frank Byng); The prog-ish odd meter interlude “Buttercup Tea”; The quiet ambience and delicate melody of “Dusty Feather:”; and the Eno-like drift of “Vapourer Larvae.”

“Library music. Akasha. Here you accept that music behaves like a thing to accentuate another thing, seemingly unrelated. A beautiful, shining blankness. Not passive. An opportunity to wade. A brief encounter with an open-ended destiny. As in, you never know who or what it will be partnered with. With library music the emphasis tends to be on functionality and less on sonic self-portraiture. So it compels you to be concise, like what is the function of this work? The distance is liberating. It’s less “What Am I? and more “What Is This?”. It compels you to be brief, each little cell is a world of its own in an assemblage of miniatures all vibrating in their collective identity. Then there is the occult nature of library music which is fetishized by many for its ability to induce time travel, often to send us back to some televisual memory. However, despite its broad-brush strokes, the library can be so profoundly alien, especially when experienced independently of the televisual realm; an unruly chimera of genre mutations, compositional curiosities and the deepest wallpaper you ever laid ears on. Perhaps the observances of library music can help unshackle us from our artistic insecurities and delusions, where one is drawn to the shape of music as a whole instrument unto itself; as a vehicle carrying our intention and consisting of everything we have to give at that moment; so things that are seemingly unrelated are ultimately connected.” – Daniel O’Sullivan

The old school Noar from the LSDF Krew... Tunes found back in time... Hardcore and Acid... with a 120 respect casse-dédi.

Created In the heart of Athens, GA with their trusty- producer, Henry Barbe (Deerhunter, Drive By Truckers) You Know Who is an 11-song record that pushes the boundaries of modern country and rock n' roll music. The Pink Stones sound takes influence from recordings of George and Tammy, as well as J.J. Cale's self produced Tulsa sound. The record is also just as inspired by the windy city cuts of Curtis Mayfield, all styles that covers the band's sound in cigarette smoke and whiskey spills. The six piece band has utilized their performing chops to make a tight but soulful album with featured guests such as Nikki Lane, Jack Quiggins and Ryan Jennings (Teddy & the Rough Riders), John James Tourville (Deslondes), and Annie Leeth (Faye Webster). No strangers to friends and guests, this ramshackle unit formed together flawlessly to take the next leap into The Pink Stones deep sphere.

From a bunch of school friends setting out to be 'the British Jefferson Airplane', over the course of their first quartet of releases, the group metamorphosed into the leading exponents of British folk rock. In the way American folk and blues had looked back to gospel songs and spirituals, Fairport mined a seam a traditional English folk song, and then combined them with rock rhythms to create something ground-breaking and quickly emulated.