Cerca:t time

«I am the bridge between the day and the night that never ends, I am the acid drop that beads on your dancing body, I am the metallic breakthrough that crosses your being when I catch your wet hands, I am the brutal wave that grazes your dark gaze and your tired eyes, I am the titanium and the cyprin, I am the adrenaline, I am that being that invents, desires and revolts, I am that jolt of desire that tears me when it is dark, I am a psychoactive substance diluted in honey, I am the back that you caress, I am our first and last dance, I am the one who seduces you, I am the one who obsesses you, I am the solitary dance that bewitched me the first time we met, I am the cry muffled by our restless bodies, I am the movement that pierces and unfolds as if it were the last. I am solid and liquid, mechanical and organic, I am your first and last time, I am Baraka.»

French duo Baraka present their first eponymous EP.
Dive into their cathartic universe in which they celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices.

This alliance of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery.

EMA’s Woozy label returns with Sha Ru’s Match My Sway EP; a powerful club record that sits proudly in the canon of modern protest music. Dubstep-influenced electronics meet spoken word on the continued struggle of oppressed nations’ fight for liberation. Comes with a slamming Walton remix, with all artist profits going towards the Kyiv Angels and Repair Together charities in Ukraine.

Sha Ru are a New York-via-Berlin based duo renowned for their deft mix of spoken word and club electronics, gaining notoriety thanks to their exhilarating productions and renowned live, hybrid and DJ sets. Having spent most of their time based between two different countries, the covid pandemic unexpectedly united the band in Belarus and subsequently Ukraine for an extended period of time. They quickly found themselves immersed in each country’s respective electronic music scene, building strong relationships within each community. It quickly became apparent that both countries were actively fighting for their future freedom, and the duo felt compelled by the unity they experienced in this to respond with music. This resulted in Match My Sway, a record chronicling resistance both lyrically and sonically that found a suitable home on EMA’s impressively futurist-leaning Woozy imprint.

The EP opens with Temporary Iteration, a fierce steppers track with plummeting subs that chronicles a moment of transition into clarity by focusing on the ‘now’; staying true to your belief by moving directly towards your goal together. Not Fluctuating ups the sonic ante with hefty kicks, drill snares and potent throbbing bass, while the vocals describe the feeling of ultimate resistance in the name of seeking the truth.

Side B enters with Synced Energies, acting as the EP’s thrilling climax. Percolating synths pogo around a 2-step beat providing chest-gripping catharsis. Lyrics repeat a mantra of unity, refuting divisions. Tectonic and Ilian Tape affiliate Walton sees us out with the intense stuttering rave mechanics of his Not Fluctuating remix, a modern techno monster that deserves to be enjoyed on a 10ft tall rig; a complimentary take on a powerful original.

Born Aaron Livingston, GRAMMY Award winning Son Little unleashes his album Like Neptune never sounding stronger or more confident than now, showcasing his original vision of r&b, informed by his love for hip-hop imbued with tinges of funk, pop, and psychedelia
While Little's collaborations with The Roots and RJD2 had already helped him make a name for himself by that point in his adopted hometown of Philadelphia.
Critics on both sides of the pond were quick to recognize the unique power of Little's solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little's "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent," and Vice declared that he was "dissolving
the barrier between R&B and rock 'n' roll one tearjerker at a time."

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Somebody’s Child has quickly established himself as a voice at the forefront of the new music scene in Ireland. Early support slots in Dublin with the likes of Kodaline, Primal Scream, and Kaiser Chiefs, as well as national radio play and an appearance on the nation’s beloved Late Late Show all acted as vindication for Cian Godfrey holding back the unveiling of SC until the relatively late age of 23 - he had honed his craft and formulated a clear message ahead of time. Newly signed to cult label Frenchkiss Records, Godfrey now announces his self-titled debut album out 3rd February 2023 which has its roots in Godfrey’s formative years growing up in Dublin and the experiences that went with that. It was recorded at East London’s Hackney Road Studios with the producer Mikko Gordon (Arcade Fire, The Smile).

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!

The impact Belfast born duo Bicep have had on Irish music is unmeasurable, capturing the hearts and minds of the next-gen with their future-facing sonics. The pairing started their FMB label in 2012, going on to support a plethora of Irish artists in the process, from Cromby and Hammer to Brassica and Brame & Hamo.

The label's latest record comes from yet another Irish artist. Swoose, a name that should be familiar to any Irish electronic lover, began his career handing out flyers for legendary club Stiff Kitten. From here Swoose went on to become a resident of Shine and AVA Festival, and has released a string of killer records on Shall Not Fade and Lost Palms. Now residing in London, his record on FMB brings the OG Belfast dance music community back together for a fittingly euphoric release.

Title track ‘Breathe’ produces poignant undertones and contemplative thought, meditative breaks channeling the producer's fascination with wild flora and fauna. The track's interior begins to distort our sense of time and self, liquid textures forming over celestial harmonies like psilocybin. ‘Hyphae’ takes a 4/4 approach, while keeping the EP’s emotional personality present. Its pulsating bassline is balanced by far-reaching syths and dancing hi-hats, resting in a unified space of motion and colour.

Rotterdam via Belfast based artist Kessler has been on the tip of everyone's tongue since the return of clubbing. He has released music on Sherelle’s BEAUTIFUL black and LGBTQ+ label and his debut Shall Not Fade release was one of the most celebrated EPs of 2021. Kesslers knackt to create beautiful, other-wordly soundscapes that are both functional and edge on the side of melancholy are unmatched. His flip of title track ‘Breathe’ swaps gentler tones for his signature UK-sound inspired drums and crowd-evaporating atmospherics. The arrangements gentle ebb and flow, maintaining that signature blend of pace and etherealness.

Toronto’s Peach is on hand for the second remix – ‘Hyphae – a stripped-back early-morning groover that mixes psychedelia with flexible percussion. The track gives off a subtly uplifting vibe that blends heads-down club with minimal, punchy aesthetic. Just when you thought it was time to go home too...

Radio Slave teams up with Nez for all-new versions of the club smash, ‘Wait a Minute’.

The first single from Radio Slave’s forthcoming 2023 LP, ‘Wait a Minute’ sees the UK legend pair with grammy nominated multi-hyphenate Nez for a hard-hitting, rap-infused house track that has become a staple of the handful of DJs who had upfront versions this summer.

Initially meeting via Radio Slave’s incendiary remix of the FELIX DA HOUSECAT co-produced ‘Lift Off’ released via Three Six Zero/Sony in 2021, LA’s Nez and Berlin-based Radio Slave made plans to work together as soon as possible, and a new version of 2020’s ‘Wait A Minute’ is the result. Featuring remixes from Rekids’ own Mark Broom and coming complete with an instrumental version, Radio Slave feat. Nez ‘Wait A Minute’ is released through Rekids on 26th August 2022.

Radio Slave, aka Matt Edwards, is responsible for some of the most recognisable underground dance tracks of the past 20 years, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and many other timeless cuts. His collaboration work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Nez has worked with the likes of Chance The Rapper, A$AP Rocky, Tinashe, ScHoolboy Q, and many more before dropping the dancefloor focussed ‘Midnight Music’ EP in 2021. Growing up in Chicago, Nez absorbed the rich musical lineage of the Windy City, and now distils these into his own unique creations and collaborations.

(feat Demarkus Lewis/Come Correct mixes)

Although he's been releasing music since the tail end of the noughties, it's a while since vinyl lovers got the chance to hear fresh material from Trevor Vichas. This surprise 12" for the fast-rising Purveyor Underground Ltd label is therefore a welcome surprise. On title track 'Miss Nice' Vichas wraps jazzy guitar, keys and vocal samples around a chunky, loopy, filter-sporting deep house groove. Demarkus Lewis successfully takes the track up a notch or two on his accompanying remix, before Vichas doffs a cap to the jazz-fired Chicago boompty sounds of Greens Keepers and Mike Dixon on 'Monday Jazz'. The Come Connect mix of that track, which rounds off the EP, is a pleasingly bumpy, bass-heavy and energetic revision that's crying out for peak-time plays.

The sum to infinity of a sequence is the sum of an infinite number of terms in the sequence. It is only possible to compute this sum if the terms of a sequence converge to zero. "sum to infinity" is also the second release from gamut inc, the retro-futuristic ensemble around composers and curators Marion Wörle and Maciej Sledziecki.

This second album by gamut inc combines custom-build autonomous music-machines with haunting classical synthesizer sounds to a dense musical kaleidoscope.
The core of the album is formed by Risset rhythms - cyclic accelerations and decelerations, in which rhythmic layers are repeatedly faded in and out, setting in motion a seemingly endless process of rhythmic movement. The motifs are taken from geometric and arithmetic series that create an urgency and restlessness. The rigor of the construction is obscured by an orchestrion whose timbres are reminiscent of a retro-futuristic indigenous ensemble. gamut inc translate strategies of electronic music like pulse-width modulation to music machines such as automated accordion, automated percussion or glockenspiels and create an intense atmosphere that is idiosyncratic, original and modern at the same time.

Gamut inc. build their own music machines, play electronic music festivals internationally, curate the AGGREGATE festival for automated pipe organs, and compose for film, radio drama, and theater. Their first opera, ROSSUMS UNIVERSAL ROBOTS, premiered in 2022. Since 2011, at the intersection of electronic club culture and experimental music, they have been producing live music, music theater, film and theater scores (including for the Junge Staatstheater Berlin) with their specially developed musical robots. They composed for ensembles like the RIAS chamber choir or the robot orchestra Logos Foundation and received invitations and commissions from international festivals and venues such as Sónar, CTM, Berghain, Sonic Acts, Technosphärenklänge or Numusic (NO).
Their first release EX MACHINA was produced exclusively with music robots, and released in 2014 in cooperation with Bôłt Records.
"Percussion tracks bring to mind the music of Einstürzende Neubauten in their industrial mechanics, until finally the music warms to an expression reminiscent of Johnny Cash's late work."
Süddeutsche Zeitung

Glasgow’s Seated Records return with more archival Scottish New Wave material; this time, in the form of Pop Wallpaper’s disco-not-disco interpretation of the Shuggie Otis classic, “Strawberry Letter 23”. And interpretation is the right word, guitarist Evan Henderson confesses that the lyrics sang by Audrey Redpath on the record were, “err inaccurate due to pre-internet home recording translation”.

The Edinburgh band first released “Strawberry Letter 23” in 1986 as a double A side 12” alongside original song, “Nothing Can Call Me Back". The 1986 record’s sleeve states that the original - “Strawberry Letter 23" has been “re-modelled for special pleasures, namely on the dance floor”. Here the re-model has been re-modelled once more. The track is recontextualised for 2022 playing on a four track 12” that includes an unreleased instrumental demo version of the track, as well as mixes from label founder Pigeon Steve and close friend of the label, Useful Tom.

Wallpaper’s first EP “Over Your Shoulder” was released in 1984. The release received a considerable amount of radio support, not least from Radio 1’s John Peel and Janice Long, which culminated with a live session for Long’s show at the BBC’s studios in London. Released a couple of years later, Strawberry Letter received similar levels of radio play. Despite (much to the band’s confusion) being tracked by Motown UK at one point, Pop Wallpaper did not go on to receive commercial success and eventually went their separate ways.

“Strawberry Letter 23” sits in the singular historical, cultural context of mid-80s Britain. Following the explosion of punk at the end of the 1970s, in the 1980s many British bands began experimenting with new styles and instruments - always keeping an eye firmly on their punk roots. The loose percussion and synthesiser melodies have an almost new-age, balearic mood, while the falsetto vocals of singer Audrey Redpath are an unmistakable embodiment the Post-punk style of the time. The prominent bass-line suggests a reggae or disco inspiration, and bass player Myles Raymond admits that he obsessed over a Sly & Robbie Taxi records compilation around the time the band put the tune together.

This reissue includes an unreleased, unheard instrumental demo-version of the cover, “SL23”. The band recorded the demo during an nighter at Wilf’s Planet studios in Edinburgh, just after Wet Wet Wet had just finished up their own demo for “Wishing I Was Lucky” (Pop Wallpaper all insist they thought it would never be a hit). In this version, we hear the band messing around with drum machines and synths which, in a similar style to Kevin Low and Fiona Carlin on Seated 001, creates a stripped back dance floor work-out that bares almost no resemblance to any version of “Strawberry Letter 23”. In an attempt to emulate the Trevor Horne production style of the time, the band’s drummer Les Cook recalls pushing for more and more reverb on the drums during the session to a reluctant producer Chic Medley, who “eventually obliged, but needed a lot of persuading”. Much to Cook’s disappointment “the reverb was toned down when we got to the final release”.

On the B side, label boss Pigeon Steve delivers a dubbed-out and acid drenched, cosmic rendition of the track with “SL24”, before Useful Tom (son of Pop Wallpaper bass player Myles Raymond) brings the EP to an end with spacey de-construction of fractured vocals and gliding synths on the B2 with “SL25”.

Musical legends from opposite sides of the world come together on Hell Yeah's next EP as Japan's Calm and Finnish musician Jimi Tenor collaborate on big city takes. It features two new singles as well as remixes from the celebrated tapes and Belfast's best-kept secret, The Vendetta Suite.

This most satisfying of eps came together when the psychedelic space-jazz-funk king and noted musician, composer and producer Jimi Tenor was in tour in Japan. Label head Marco arranged for him to head into Calm's studio in Kawasaki, Tokyo, and real magic happened.

'Big City Takes' is gloriously lush, with serene chords, delicate flutes and organic percussion. Tenor's airy vocal brings the soul as an intimate and late-night groove emerges to melt your heart.

Then come two remixes from tapes. The first is powered by dusty old-school drum breaks. They're doused in subtle euphoria with a nimble bassline down low, while the second one is stripped right back to a pulsing rhythm and killer phased bass. Spread chords bring sunrise feelings to this most colourful of grooves.

On the flip side, Calm offers a version of 'Time & Space' that is nearly eight minutes of exquisitely blissed-out downtempo. Chords ripple like waves, flutes flutter like birds and the whole thing is filled with the joys of a new spring day. The remix comes from The Vendetta Suite, a label regular and under-the-radar talent who is defining his native Northern Irish scene with his fresh fusion sounds. His version brings a new age ambiance to post-rave Balearic comedown. It's one that douses you in life-affirming synths as drums gently persuade you to sway along.

Bosq & Kaleta unite again for Afro Disco dance floor fire. With their massive 'Wake Up' continuing to make waves the duo refuses to rest on their laurels and keeps pushing. 'Ipade' is the first single off their upcoming joint album, and draws slightly more on Kaleta’s history playing with King Sunny Ade and some of the pioneering work of the time fusing traditional African music with electronic sounds.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

As one of the three co-founders of Washington D.C. production and DJ trio Black Rave Culture, James Bangura is no stranger to situating electronic music within its most purposeful and potent contexts. With this new duo of tracks, however, Bangura taps into a deep, personal internality, metabolising visceral experiences and personal transitions into unexplored phases of his musical life.

The bass-forward “Harrar” is a complex organism which operates on two planes: a sweat-drenched 150pm symphony of synth pulses, fidgety percussion, shimmies and distorted vocals, that falls into lockstep with a
meditative, dubby bass tone that calmly swells and recedes. Emerging out of Bangura’s high intensity hardware jam sessions with friends and collaborators, both the depth and energetic fizz of “Harrar”’ are signified by its name, borrowed from Harrar Coffee & Roastery--a beloved Ethiopian coffee house and community meeting place in Washington D.C. that radiates warmth and familiarity.

“Witness Dub” occupies less of the senses, exploring a state of liminality through a contemplative deep house signature. Having emerged from an extended period of active duty in the military, Bangura had to navigate civilian life for the first time, causing him to process multiple culture shocks that stretched across culture, language, communication and identity. “Witness Dub” finds Bangura at this crossroad, juxtaposing the steady propulsion of kicks and drums with pensive minor key chords, as he begins to explore the other side of the self, letting the energy guide the music.

Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.

If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.

He's recorded and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.

The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.

"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.

Never Sleep present Paula Temple 'Live from the Mill".

Recorded live in the UK's oldest rave capital Preston in the beautiful summer of 1995.

One of Paula Temple's earliest gigs, this mix was recorded at a rave in Preston 27 years ago when she was 18 years old.

Vinyl only at the time, this mixtape embodies the style she is consistently known for, a mix of raw relentless techno and rave.

In 1995 making mixtapes was the only way to go, so Paula would make mixtapes to give to her friends at clubs around the North of England such as Bugged Out (Manchester), The Orbit (Morley) and Voodoo (Liverpool).

Paula submitted this mixtape to MUZIK magazine to spend a day with techno artist Dave Angel.

Triumphantly she spent the day with Dave in his studio, was featured in the magazine and was just a young girl chasing her dream.

When we asked for this possible collaboration she dug deep and found a forgotten tape from long ago that had been lost but recently found, Archivio has brought it back to life for you to hear the younger Paula Temple's passion for the underground.

All proceeds go the amazing Womenonweb charity which supports women rights across the globe and provides abortion care for the most in need.

We are truly honored to put out a small testament in time and help those in the future.

New family members Loris S. Sarid & Innis Chonnel summon a long-overdue return to the 12th Isle with an album built around percussive sounds taken from various mic-ed up objects found in a wood workshop on the East Coast of Scotland. With the pair occasionally leaving said workshop to enjoy some respite in Innis Chonnel’s horse box / studio, the artists hatched a plan to process and program their field recordings, later combining them with improvised synthesiser rhythms and overdubs. The tracks began to materialise over the course of a few follow-up sessions by which time saws sang and flutes flowed through watering cans. Shortly afterwards they found their way to us via carrier pigeon on a CD-ROM that smelt vaguely of soiled hay and we knew we had to act.

‘Advanced Process’ presents itself as a distinguished LP, oozing with Marcello Giordani’s innate talent to evolve the classic Italo Disco sound into consistently ear catching productions of the future.

With a warm welcome from the shimmering synths of ‘Morning News’ and a defined, driving bassline, you know you are safely sitting in Giordani’s passenger seat.

Crisp, analog drum machines and glistening synthwork are a constant.

Giordani captivates you with compelling arrangements and considered hints to electro in the likes of ‘Metamorphosis’. Powerful vocals from Fred Ventura and Ready In LED feature on the two alluring singles ‘Mysterious Calls (In The Night)’ and ‘Fase Rem’. Encapsulating, intelligent acid work is heard in ‘Forbidden Pleasures’. Marcello’s clear love for analogue authenticity is at the forefront of this LP.

Delicately positioned arrangements and intelligent melodic pay offs in tracks like ‘Terza Classe’ are a plenty. A seasoned knowledge and intuition of the nature of the nightclub is apparent with the energy sustained throughout ‘Advanced Process’. A beautiful melt of golden era Italo Disco and Detroit Techno is heard in the sweltering melodic brilliance of ‘Via Mecenate’.

The title track is an immersive journey preparing you for the final side of the LP.

Sizzling keys and pulsating basslines drive this record making it hard to lower the volume. The dazzling, ethereal chimes of the final track ‘Aperitivo In Gracia’ are enticing and filled with picturesque mediterranean imagery.

Being no stranger to the inner workings of a packed out dancefloor Marcello Giordani delivers an immense, infectious LP. ‘Advanced Process’ truly lives up to its fitting title.

Cypress Hill is widely respected and considered to be amongst the main progenitors of West Coast rap and Hip Hop in the early 1990s. With mega-hits like "Insane in the Brain", "I Wanna Get High" or "Tequila Sunrise" they crossed-over to mainstream breaking all records for a rap band up until that time. Cypress Hill were the first Latino-American hiphop group to have RIAA Certified platinum and multi-platinum albums. As musicians they became famous for the crazy sounds produced by DJ Muggs and Bobo and the stoner sympathetic lyrics of B-Real and Sen Dog. They redefined and shattered the boundaries of hip-hop, crafting gutter-dirty tracks that fused deep bass lines with blissful, stoned-out melodies and aggressive hard rock riffs, creating a unique imprint. This is an esential and powerful weapon for all the Hip Hop creators and djs.

South African production duo of Emil Zoghby and John Galanakis were responsible for a string of high-quality disco singles in the early 80s, typically cover versions of international hits — Klein & MBO’s ‘The Big Apple’, Sly & the Family Stone’s ‘Family Affair’ & David Joseph’s ‘You Can’t Hide (Your Love From Me)’ — backed with their own compositions. When Starlight hit the market with an album in 1983, it featured only one cover, the local hit ‘Picnic’, along with five of the duo’s original compositions, including their similarly styled response, ‘Picnicing’, which replaces the original’s sax with spaced-out synth stabs. Then there’s ‘Jah Jah Love’, an ecstatic disco sermon of dancefloor dynamite weighing in at over eight and a half minutes. Other tracks on this landmark album — ‘Let’s Go Dancing (Boogie Boogie)’, ‘Keep On Moving’ and an eponymous instrumental — offer a similar fusion of classic disco with newer Italo and proto-house influences: machine music with a human touch! Remastered from the original master tapes and reissued for the first time, Starlight will be available on vinyl and digital platforms from early 2023 (40 years after its initial release) via Afrosynth Records.

"Sounds sublime" - Gilles Peterson

"What a delightful, excitingly beautiful album. From "At Once Familiar " all the way through to "Same as Before" everything song feels and sounds sonically glorious. A modern day classic" - Nightmares On Wax

Taking a short sabbatical from their journey into the spiritual stratosphere and beyond, Work Money Death landed on terra firma just long enough to record a follow up to the critically acclaimed "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises". The new album "Thought, Action, Reaction, Interaction" explores many of the meditative motifs that mould this unique group in their quest for the perfect sound and space. Those who are familiar with Work Money Death will know their output is as much an adventure for the listener as it was for the musicians.

"Thought, Action, Reaction, Interactions" is a salute to the now sadly deceased master of the spiritual sound Pharoah Sanders, and in particular the spontaneity of his recording process.

Each of the four tracks on "Thought, Action, Reaction, Interaction" were recorded in one take with no rehearsal and while the players may have known where they were starting off none of them were sure where they would end. As much as it is entertainment, and have no doubt this LP is an unctuous, spirit-smoothing joy from beginning to end, this is an experiment of making music in the moment. Spontaneous and spiritual in its truest sense, "Thought, Action, Reaction, Interaction" is a work of innovation and unsurpassed beauty.

"At Once Familiar" is a rising salute to the day, meditative, moving and fierce. An introduction to Burkill's emotive style, at once sweeping and succinct. It fills a room, and your head, with a very real sound, rich in texture and spirit.

"Freedom As A Heartfelt Song" is buoyant with harp, the spirit of the Yorkshire Pharoah is never more to the fore. Visceral sax rides over and uplifting backing, symbiotic and pinioned with power and beauty. Think Sun Ra horns meets Don Ellis brass.

"Song Of Healing" drifts on a river of music, guided through the rapids with a heartbeat bass line. This is temple sombre, with Eastern flavours and an overarching calm. A communion of sound, a master class in the understatement and power of the slow note, deceptively light.

"Same As Before" is spoken word playing foil to the call and response of the brass, dancing alongside and against each other. Spiritual vibrations cement ethereal forms to substantive sounds. A prayer to change."

As with the previous Work, Money, Death release (which was recorded in difficult conditions due to the Covid pandemic) the aim was to recreate a situation, in this case the impromptu and unrehearsed recording sessions of Sanders in the late 60's and early 70's, everything recorded in one take, creating a body of work that is a strong nod to a certain time and ethos but not a pastiche of it.


““Sounds sublime””
Gilles Peterson — BBC6, WorldWideFM

““What a delightful, excitingly beautiful album. From “At Once Familiar “ all the way through to “Same as Before” everything song feels and sounds sonically glorious. A modern day classic””
Nightmares On Wax —

Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

White Vinyl Only
Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

For the past 20 years Nostalgia 77 has become a catch all for the musical life of Ben Lamdin. His schizophrenic offerings range from songwriting sessions, soundtracks, excursions into Soul and in this case Jazz. The Loneliest Flower in the Village is an album that sees Lamdin reunited with longtime collaborator and arranger Riaan Vosloo and experienced veterans from a host of Nostalgia 77 projects.

'It had been a long time since we'd gigged or recorded so the idea was as much a little reunion in the studio as any grand plan to record an album' says Lamdin. 'The idea wasn't to do anything new (the material is both a few originals and a few covers), more just hear these players and their easy familiarity with each other after the disruption of Covid'.

Playing a clutch of originals by Riaan Vosloo and James Allsopp and covers by long term influences from South Africa such as Chris MacGregor and Abdullah Ibrahim, the emphasis is on strong melodies and open reaches for the soloists. The title track draws upon the song written by South African bassist Johnny Dyani and the result is spectacular; British jazz at heart but awash with references to South Africa and its strong jazz heritage.

'I'm pleased to say that I think this record is the best account of how the band (playing in this lineup since about 2010 ) sounds live. Full of energy and ranging from serene to firing on all cylinders.'

In 1962 Martin left his record label Capitol and signed with Frank Sinatra’s new label Reprise. His debut album for them was French Style, released in April of that year. Martin had recently released an album of songs sung in Italian and would go on to record an
album of Latino material at the end of that year. French Style came in between the two, and collected a number of songs about France ably arranged by conductor Neal Hefti. At this point, France must have seemed impossibly glamorous, with Brigitte Bardot swanning
around St Tropez, while Grace Kelly raced her sports car around the clifftops of Cannes in Hitchcock’s To Catch A Thief. Beatniks filled the jazz cafés, where the New Wave of French cinema was being discussed over Disques Bleu and café au lait. What’s more, the
majority of songs in this collection focus on Paris – and the City of Lights has been a magnet for Americans ever since the days when Hemingway and F. Scott Fitzgerald and Cole Porter first took up residence there. French Style is delivered with his trademark
charm and ease. So, bon appetit!

Following his discharge from Army Service in 1960, Elvis Presley and his Manager Colonel Tom Parker had eschewed live performance and concentrated instead on Elvis's burgeoning film career. A steady stream of record releases kept Elvis's worldwide audience of fans happy, and June 1962 saw the release of this non-soundtrack LP. Pot Luck reached No.1 in the U.K and No. 4 in the U.S.A due to the compositions Kiss Me Quick, Suspicion (which went on to become one of his outstanding songs of the period), I'm Yours and That's
Someone You Never Forget (co-written by Elvis with Red West). By the end of 1962, Elvis was set to remain at the top of the tree. But this was the year which saw The Beatles and Bob Dylan make their recording debuts. The times were, indeed, a-changin'!

Intervention Records is thrilled to announce the latest release in its (Re)Discover Series, a 100% Analogue Mastered 180G LP of “The Fantastic Expedition of Dillard & Clark,” featuring singer-songwriter Gene Clark and banjo genius Doug Dillard!

"The Fantastic Expedition of Dillard & Clark" is Intervention's first 180G LP to be pressed at Gotta Groove Records in Cleveland, Ohio. In addition to having a FIRM production schedule and shipping dates that we can absolutely rely on, GGR is the only plant we've found that we believe can meet or exceed our stringent quality standards. GGR replaces its 180G stampers every 500 records just how we like, and Matt Earley and his team press beautiful records with an AMAZINGLY low noise floor !

What a time 1968 was for the burgeoning country rock scene! Gene Clark and Gram Parsons had introduced rock fans to some country flair with The Byrds’ “Sweetheart of the Rodeo.” After Sweetheart, Parsons broke auspicious new ground with The International Submarine Band (just a year before he’d make The Flying Burrito Brothers’ “The Gilded Palace of Sin”), while Gene Clark teamed with banjo genius Doug Dillard for this bluegrass classic, “The Fantastic Expedition of Dillard & Clark.”

The picking virtuosity of Dillard, Bernie Leadon and others on this LP meshes beautifully with Gene Clark’s soulful vocal presence and guitar. The repertoire is endlessly fun and engaging, but punctuated with somewhat somber Clark offerings like “She Darked the Sun” and “Something’s Wrong.”

Country rock is familiar ground to Intervention fans, as we’ve already tackled greats from The Flying Burrito Bros., and Gene Clark’s amazing solo effort “White Light.” This is the roots of the music that paved the way for the Eagles and countless others.

The Fantastic Expedition of Dillard & Clark is 100% Analogue Mastered from the 1/4" 15-ips Original Master Tapes by Kevin Gray at CoHEARent Audio! The tapes sound beautifully dynamic and alive, with tuneful bass, extended highs and three-dimensional imaging. The IR cut has better separation and punch than ANY previous version of this amazing record!

Y2K era Central AYR Productions. From the orlando home office of Mr. Cole session genius, all songs written, performed and recorded by a one man band well ahead of his time. We'd like the thank the lady who gifted him the 4-track cassette to digi converter that started this whole journey.

Riviera Records presents XTC002: The Atlantic Connection with non-stop flights to X-Coast from Ireland, UK and USA.

The first route offers a very intuitive bass and breakbeat driven ride with a Tama Gucci signature, sensual vocals cutting through the airspace. The second journey is flying over (hard) house territory
with DJ Torture serving the snacks.

The B side we have a UK to X-Coast red eye flight with a trance edge courtesy of Capt. Ejeca. B2 is the only supersonic flight offered at this time navigated by Tommy Holohan: a shuffled up Reese bass powered techno from Ireland to X-Coast in just 4 minutes and 57 seconds - buckle up.

Attention: BPM changes at short notice!

Rhythm Nation is back on vinyl, with a master of the deeper side of UK house and Detroit-inflected techno, Jayson Wynters.

Following up his 'Exit Wound' digital-only release of last year, which also featured remixes from Phantasy Sound's James Welsh, Jayson drops two brand new tracks as well as a physical pressing of those two originals from the previous release.

'War Heads' is a true late-night wormhole of a track, embarking on a journey of percussion and atmosphere, leading inexorably to the emergence of the warmest pads and the deepest bass.

'Bandwidth' flips the switch to a fresh take on classic electro, maintaining the signature Hayson Wynters sound of drum machines and classic synths that seem to hit just slightly left of where the listener expects.

Orginally released digitally in 2022, 'Exit Wound' and 'Lost City' offer a similar contrast - the former is a bassline-driven peak-time stomper, while the latter takes things deep into real electro with an infectious groove and evergreen textures.

Rhythm Nation is part of the Hotflush Recordings label group, curated by Paul Rose aka Scuba, celebrating 20 years in 2023.

Lady in Satin was released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is legendary singer Billie Holiday's penultimate album completed by the singer and released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death).

AllMusic says: "The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. 'You've Changed' and 'I Get Along Without You Very Well' are high art performances from the singer who saw life from the bottom up."

The song material for Lady in Satin derived from the usual sources for Holiday in her three-decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Song Books series. The album consists of songs Holiday had never recorded before.

Bandleader Ray Ellis used a 40-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday's most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Now with our 45 RPM release, mastered from the original analogue tape by Bernie Grundman, and pressed by our own Quality Record Pressings, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Original album produced by Irving Townsend, and engineered by Fred Plaut.