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Tribal dubby breakbeat project originally released in 1991 by Manchester born drummer Morgan King, brought back 30 years later with a remastered release.

Guaranteed anthem for the introspective dancefloors, with heavy dubbed out breakbeat rhythms under trance inducing didgeridoo sounds. A side takes you on trip spanning over 12 minutes starting with faster paced floor action that gracefully fades into a half tempo section – two for one – flipping over to the the B side with two more versions of “Older Brother from the Rock”, the Tribal Om Mix and the Om Beats - something for everyone. Seriously remastered and re-cut for maximum dancefloor presence. Huge on proper sound systems.

3 killerz. A side playing 33 and the flip 45 with a massive collab between Xtech and Protokick, Bass Freetekno, Dj friendly and supra dancefloor. Big !

Here comes round 2 of Dimitri From Paris and Chatobaron’s live sessions on Le Heartbeat records. In a clear departure from their Silly Not Silly debut “I like (The Music That You Play)” the 10 piece crew returns with a slightly more trippy mid-tempo groover.

“Chez Madame La Baronne” nonchalantly mixes highly skilled musicianship with vintage lo-fi recording. Here, Chatobaron echo the sound of West Coast Jazz-Funk, as if trapped in a French sexploitation flick - imagine the Mizell Brothers visiting heady Baroness Brigitte Lahaie’s mansion, and you get the picture.

Once again, a lot of pleasure was taken by Dimitri From Paris who directed the proceedings, meticulously arranging the sophisticated material: drum breaks, solos and horny sections, leading to an orgasmic climax. It's lush but raw, and as enjoyable at home as it is effective in the club.

Long time friends The Idjut Boys join the party, deconstructing the original piece from the top down. Ripping it apart to hone in on its darker parts, they deliver a solid and psychedelic Fazz Junk Version in their signature dubbed out style.

With label partner & vinyl digger supremo Melik Ben Cheikh, Le Heartbeat Records continue their quest to bring the higher standards of yesterday’s music to today’s ears.

Early support from François K, Red Greg, Volcov, DJ Deep, Alex From Tokyo, Alex Attias, Hugo LX.

Mr. Confuse returns with a brand new series of 7Inches on Confunktion Records.

"No Time To Snooze" is a heavy up tempo funk tune with a disco feel. On the flipside "Break It Loose" catches your ear with a nice melody and a smooth breakdown part. Both songs feature heavy funk drums, a powerful horn section, funky guitar and driving Rhodes sound. Just the right sound for funkateers, organic sound lovers, disco heads and b-boys.

Don't miss this release on Confunktion Records as the 7 Inch vinyl version is limited to 300. Be quick on this one!

Four Flies' new imprint Edizioni della Notte is back with a 12-inch maxi single of infectious remixes of Francesco Fisotti's boogie funk track "La Tartana" by eclectic Neapolitan DJ/producer Whodamanny.

The original track, which comes from the 2021 album Lido Sirena (named after a beach resort in the Salento area of Apulia, where Fisotti used to spend his summers as a child), blends funky disco, synths, drum-machine beats and improvisation into an exciting new sound that Fisotti calls "Adriatic funk".

Inspired by slow-tempo but irresistible Italo and cosmic disco tunes, in particular Tonino Balsamo's 1983 "Sta Guagliona Mo Ddà" (one of the rarest Neapolitan grooves ever, recently reissued by Periodica Records), Whodamanny's two remixes amplify the original's dancefloor potential by adding a nocturnal vibe and elements such as synths and electronic drums, as well as a short vocal line ("Don't stop till the music stops") to create a catchy call-and-response effect.

Whodamanny himself explains that he produced not one, but two remixes due to his love of extended dub versions. "It's sort of a professional quirk," - he says - "but you know, it's inevitable. You're sitting at the mixer, listening over and over to a track… Of course you'll find bits you can stretch out to create a fantastic flow! And my approach is always the approach of a DJ. I want whatever I produce to work well in my DJ sets, so these remixes too were bound to be club-oriented."

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

THULCANDRA’s rise to power ignited when the Germany-based outfit unleashed their debut album, Fallen Angel’s Dominion, upon metaldom in 2010. The group, fronted by founding member and visionary Steffen Kummerer (also of Obscura fame), have tightened their hibernal grip on blackened death metal since. The desolate melodic emanations in follow-up studio records Under a Frozen Sun (2011), Ascension Lost (2015), and the chart-topping, 2021-album A Dying Wish, dedicated to the late drummer Chris Kratzer, solidified THULCANDRA as a superior force, expertly thrusting the magic and mystery of mid-’90s melodic black-death metal into the modern era. Their fifth attack, entitled Hail the Abyss, sees THULCANDRA prove yet again why they’re atop death metal’s malefic vedette! Fierce tracks such as "As I Walk Through The Gateway", or the uber-brutal "Blood Of Slaves", showcase the band‘s affinity for dark, aggressive, and mellifluous metal while the album title track and the epic, mid-tempo rager "On The Wings Of Cosmic Fire" rip and terrorize with the intensity of hell. As always, THULCANDRA's about a vibe - there's a distinct "feel" to the band's latest album that's distinctly old-school but without the tired trappings of it. The hotly-anticipated Hail the Abyss is slated for release on May 19, 2023 via Napalm Records. Cooperation with renowned producer Dan Swanö (Dissection, Opeth, Katatonia), who handled the crushing album mix, was compulsory, as was the re-invitation to cover-master Lochner. Don’t fear the reaper—fear the majestic might of THULCANDRA, as Hail the Abyss will see them ultimately rise to full power!

Oscillate / verb – to move or swing back and forth in a regular rhythm. Alexander Flood has developed and refined a strong, progressive voice and style on his kit through his 17 years performing and studying. Previously graduating top of his year, he has been the recipient of many prestigious awards including Australia's Best Up-andComing Drummer in both 2012 and 2016, The John ‘Slick’ Osborne Scholarship in 2017 and the Helpmann Academy Jazz Award for Top Overall Graduate in 2018. In 2020 he signed with 6x Grammy nominee Christian Scott aTunde Adjuah to release Alex’s debut LP “HEARTBEAT” and “The Space Between” in 2022. 2023 finds Alexander aligning w/ Berlin’s Jakarta Records to release LP “Oscillate” - a blistering, hard-hitting meld of infectious rhythms, pulsing keys, and a swingin’ groove that melds into a genre-defying conglomeration of creative compositions and collaboration. In mid 2022 Alex travelled from Australia to Berlin, where he assembled a dream team crew of creative innovators featuring Hungarian keyboard player Àbáse, Australian bass guru Horatio Luna, and Brazilian flautista Paulo Cedraz. Together the group cut six unique dance tracks at Berlin’s iconic Jazzanova Studios, engineered by Grammy nominated Axel Reinemer. From the shuffling broken beats and dancing flute melodies in title track “Oscillate” to the experimental uptempo “Deja Vu”, the momentum of the music ceases to stop. “U R THA 1” features a driving jungle sound of repitched drums, vocal chops and 808 bass, and “Berlin” captures a classic funky 90s house feel powered by 4-on-the-floor kick and melodic basslines from Horatio Luna. Paulo Cedraz shines on flute in the Caribbean influenced “Ginealach”, and the LP finishes with the head-bopping “Hüpf” giving the listener a taste of some down-tempo beat music atop a bed of Àbáse’s lush rhodes. From top to bottom, the unique voices and powerful musicianship of each band member is obvious. Australian influence is at the core of the sound not only through the bass and drum chair, but through the punchy characteristic mix by Melbourne’s Lewis Moody and master by Gareth Thomson. The final piece of the puzzle was bringing in Alex’s childhood drum and percussion teacher Joel Prime, where they overdubbed additional percussion parts together in London. Artwork was stunningly put together by Robert Winter (Suff Daddy, Bluestaeb, K, Le Maestro) with visualizers put together by the stalwart KARL-F. Jakarta is ecstatic to share such a high-water mark of an album, out everywhere physically / digitally May 12th. Check the accompanying Press Sheet for Campaign Schedule and more. Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US and UK.

Fans of Coltrane will certainly dig this historical 1970s spiritual jazz album from Argentina which left an everlasting imprint in the local jazz scene. From the eerie "Blues para un cosmonauta" —which could easily fit in the Twin Peaks soundtrack—, to the majestic "Líneas Torcidas" or the mid-tempo groove of "Mi amigo Tarzán", new landscapes in jazz are explored without hiding, at moments, the musicians' bebop pedigree. Venturing into unchartered dimensions, the album breaks with traditionalism and combines jazz and new electronic instruments into a contemporary concept that is both cosmic and sensual, a sound where timbre and space play a crucial role. Here, no track sounds like the other.

The charismatic, multifaceted saxophone player Horacio "Chivo" Borraro is joined here most notably by Fernando Gelbard —who pioneered electronic keyboards and analog synths in Argentina, playing here Fender Rhodes and Minimoog— and Brazilian musician Stenio Mendes —who plays the 12-string craviola and contributes two tracks. Jorge González on bass and Néstor Astarita on drums —both part of Gato Barbieri's rhythm section in the early 60s— and Chino Rossi —responsible for much of the unusual percussion and special effects that give the album its unprejudiced aura— complete the line-up of Blues para un Cosmonauta.

Death/Thrash Metal classic reMastered! A strong Master album re-issued.
Since the dawn of human intellectualism, self-aware individuals have sought solitude. Paul Speckmann of Master finds his own solidarity in
expressing apathy towards society. Lets acknowledge the introspective impact of Master’s 1998 release “Faith is in Season.”
Crusty bass lines and tom-centric drumming push “Faith is in Season” forward with a reliable tempo, coupled with intermittent guitar leads and Speckmann’s defiant screeches define Master’s new production - consistent and comprehendible Death Metal. This is further polished with thoughtful song intros that highlight each individual member’s musicianship. This foundation supports the guitar melodies and lyrical concepts.

Compositionally, each instrument in Master is worth its own weight in gold while also not overshadowing each other. This is a self-evident
testament to Speckmann’s exemplary leadership because the band line-up on “Faith is in Season” was relatively brief.

Similar to 1990’s contemporaries like Vader or Obituary, Master solidified their craft with “Faith is in Season” and has since strayed minimally.

Originally released as a digital single only available through Jungle Fire's Bandcamp page in the summer of 2020, their version of the Ray Barretto Latin Funk classic "Together" was put out in support of Black Lives Matter and acknowledgment that African culture has been the backbone, soul and spirit of societal fabric since the dawn of humanity. A song whose message and spirit always united and ignited the audience, it was a much-needed offering to fans at a time of escalated urgency in the sociopolitical climate. Now in 2023, F-Spot Records is proud to announce its official vinyl release alongside a previously unreleased track, "Movin' On" (originally recorded by Ray Camacho), on the flip. Often performing "Together" during their live shows as an instrumental interlude, it was only right to do the song justice by inviting long-time collaborator and frequent F-Spot featured singer Jamie Allensworth to join on lead vocals. Performing as a guest with the band numerous times and being a part of So-Cal's funk and soul community ranging from Orgone, Night Owls, and Mestizo Beat, Allensworth delivers a high-energy performance that keeps up with Jungle Fire's signature sound of blazing percussion, heavy beats, and fuzzed out guitars. On side B Allensworth is featured again, stepping up the energy even more into the full-on Latin Funk party, "Movin' On." Cut at a faster tempo and more drive than the original, Jungle Fire is the only group we can think of that can deliver this kind of performance, matched with Allensworth's gritty yet soulful lead, to bring you two sides of serious heat that the band has consistently brought over the past decade.

Mogwaa returns to Peggy Gou’s Gudu label with Drifted, his second EP for the imprint and a perfect summary of what makes him one of Korea’s most exciting contemporary artists - complete with a remix by Klasse Werks founder Mr. Ho.

A staple of Seoul’s electronic scene, Mogwaa’s catalogue takes in everything from ambient to jungle - but at the centre of his music, there’s always a distinct sense of melody and pure compositional chops that defines his music regardless of style or tempo. Put simply, you know a Mogwaa track when you hear one.

Quicker in tempo than his last EP for Gudu, Drifted opens with ‘Driven’ - a combo of chopped-up breaks and a relentless riff that does just what the title implies - before Mogwaa really flexes those melodic chops on ‘Chances for Bounces’, getting heady with synthesized voices and an almost Detroit-leaning bassline over an 808 groove. ‘Rushing’ takes things further into peaktime with an acid bassline and some nifty automation to keep things ascending, before Mr. Ho’s remix of ‘Driven’ closes the EP on a dreamy techno tip.

Following several European runs last year that saw Mogwaa perform at Warehouse Project, Pleasure Gardens and more, plus a Boiler Room in Seoul alongside Anz, Sharda, Finn, Closet Yi and Seesea, Drifted is another snapshot into the sound world of this remarkable talent.

Never one to pull inventive punches, Left Coast electronic music producer Dave Aju reassembled this notorious cast of characters for a remarkably fitting album package made during one of the most strange times our world has ever faced in the throes of the COVID-19 pandemic. While things were essentially shutdown, reopened, cycle-repeat worldwide, and every other species in mother nature's kingdom temporarily rejoiced while humans remained still in their caves, Aju and The Invisible Art Trio, his formidable if not-seen-in-a-minute musical team behind such underground anthems as "Be Like the Sun", went to work in the final days of the glorious G-Son studios in Atwater Village LA to record this LP.

Indeed, the same four/five walls and vocal booth that saw the Beastie's iconic Check Your Head and Hello Nasty come to life, became the birthplace of Glossolalia, Aju's fifth studio album and appropriately impressive seven-song set. As always, myriad musical styles and influences are strung together and boldly combined here, to the degree that drawing comparisons or attempting genre references feels futile. There are, however, clear visceral expressions of political provocation, hope and anger, fear and joy laid over twisted yet dedicated grooves in a lockdown era where Aju's imaginary collective dance floor feels in the temporary absence thereof and bizarro sixth-world unification strategy of recording every song's lyrics in complete non-languages aka total gibberish, feels right at home. Even the vocal guests join in the literal chant here, granting us diverse spell-casting and sensual nonsensical lyrical lines over tech-funk mother lodes, before closing the otherworldly proceedings with a powerful grand finale tribute to the US of A's proud boys-in-blue in the wake of George Floyd's very public assassination.

Equal parts timely anti-establishment and uplifting call-to-action, Glossolalia serves as a decidedly coarse yet crucial reminder of the possibilities in collaborative and devoted noise-making, booty-shaking, and alternative world-building during greater global disarray - beyond stylistic, nationalistic, and linguistic dividing lines. An overtly universal and unifying message liberating us from any fixed cultural identities and thus differences, to instead just focus on how the music delivers and we physically respond, together, as the foundation. Perhaps also an inspired response to the talking heads in every corner of the world's media, spewing useless and politically-tainted mouth data at us amidst these turbulent times.

»Techno is a genre of electronic dance music (EDM) which is generally produced for use in a continuous DJ set, with tempo often varying between 120 and 150 beats per minute (bpm). The central rhythm is typically in common time (4/4) and often characterized by a repetitive four on the floor beat.«

Well, that's what Wikipedia says about »techno« - but can Laura BCR's music simply be called »techno«? We say it's much more than that. The French DJ and On Board Music label founder who took her name from the much-loved and now closed, Berlin record store, Bass Cadet Records, started to produce her very own music in 2020. Music which could easily fit in her transportive, deep techno and dubby ambient DJ sets. Sets that have brought her to some of Europe’s finest venues.

After her releases on SoHaSo, Semantica, Paloma, RDV Music, Technologia Organica or Sublunar we're happy to present to you her latest work for Live At Robert Johnson: »Human Behavior«.

The four tracks all share a deepness which is typical for a lot of her productions so far. This is repetitive music, yes - but also very atmospheric music. Whether it's the helicopter sound in first track »Farewell« which Laura put on top of layers of whirring synths sounds or the swelling and decaying sounds of »Long Wait«. Sounds which swallow you deep into their core and make you forget about the here and now. Yes, Laura's music is hypnotizing - and it has a certain psychedelic quality attached to it as well. This aspect of her music can be heard quite good in »Post Dynamic« with its electronic blowing wind sounds galore. Or in »Human Behavior«, the title track of Laura BCR's LARJ debut. Yet Laura never forgets the importance (and the power) of the bass drum and its four on the floor beat.

A beat that is the heartbeat of techno. And a beat that defines Laura BCR as well.

Now all hail the bass drum and all hail Laura BCR!

The title of Ital Tek's seventh album "Timeproof" reflects what Alan Myson has observed and learned whilst making the album. Firstly, how distorted the perception of time is in the creative headspace - being in the studio creates a timeless environment, one's mind starts wandering and the perception of time is altered. Secondly, the bizarre effect of the last few years of lockdown have somehow infected the title, temporarily contracting our collective notion of time. And thirdly, Alan has learnt how spending time away from the studio can be as effective as being there, giving one space to process. Appreciating the power of being out in nature, putting other things into perspective, refreshing one's ability to approach work with both patience and creativity. Overall "Timeproof" feels more introspective than Alan's last album "Outland". Perhaps because of the time in which it was created or this new relationship to the creative process. The sounds and textures of the record hint at brutality and menace whilst also pulsing and evolving softly with a more refined interior life. It's expansive and elegant, neatly balanced between light and dark, more mossy and dreamy than the extremes of "Outland".

When making the album, Alan spent about a year or so working quickly and intuitively, churning out ideas, sketches and sound experiments without any attempt to finish or perfect anything. "I let it settle until I was ready to return to this body of raw material with fresh ears some months later, sometimes barely remembering what or how I’d done much of it." Over the course of another year he dived into the details, rendering all of this rough material and sound into something with form. Alan also visited older material and ideas, trying out, reworking and sampling, building it into this new body. The finished album feels open, with a gentle intuition that feels as if it's guiding you through.

Limited Edition of 2,000 copies, First time ever on vinyl. RIYL: Brian Eno, Max Richter, Eluvium, Tim Hecker, John Cage. Originally released a year after the increasingly iconic The Disintegration Loops, a decade later Melancholia still stands as William Basinski's second most beloved album. To commemorate its 10-year anniversary, we are honored to present the first-ever vinyl edition of this otherworldly piece of music. Remastered from the original recordings and pressed onto audiophile-quality 100% pure virgin vinyl, this limited-edition vinyl reissue is packaged in a stunning gatefold jacket featuring all-new artwork. It is truly a sight and sound to behold. Like many of Basinski's most soul-stirring works, Melancholia began as a series of short tape loops captured in the early 1980s. Basinski then stored them away for decades, revisiting them at a different time in his life, at which point they took on a stunning new sound all their own - one that many consider to be among the finest of the past decade. "Melancholia is probably the best of Basinski's records until now, even if this is hard for me to say given my love for each one of his releases. This music is so beautifully delicate and sad in its auto-reflective moods, it stands right there with everything ranging from the usual suspects in the 'ambient' field, to a distorted damp ghost of Claude Debussy or Maurice Ravel put into a time machine.' - Touching Extremes //

10 Year anniversary reissue of Citizen's debut fan-favorite LP on "Evergreen" vinyl including updated deluxe artwork with die-cut slip-case o-card and new gatefold cover. To celebrate 10 years of YOUTH, Citizen and Run For Cover Records have teamed up to completely update the band's debut LP. Since it's initial release in 2013, the songs that make up Youth's tracklist have been staples in mixtapes, playlists and record collections for listeners chasing what felt like a long-lost feeling in alternative music. YOUTH takes notes from the headbanging tempo of grunge, the hazy reverb of shoegaze, and the catharsis of emo together to make something deeply personal and profound. Songs like opener "Roam the Room" and the anthemic sing-a-long "The Summer" have been soundtracked a thousand stagedives at live shows, while pensive and moody songs like "Figure You Out" and "Sleep" offer brief, downtempo respites with blissful melodies. YOUTH also features Citizen's two most popular songs: "The Night I Drove Alone" builds from a quiet, isolated guitar strum into vocalist & lyricist Mat Kerekes' diary-like confessional, exploding mid-song into a full-band barrage, while "How Does It Feel?" incorporates dreamy shoegaze elements into a somber mid-tempo wall of sound. New additions to the vinyl packaging include a die-cut slip-case cover to hold a new rendition of the album's classic flower text done by artist Mike Adams. Packaging also includes an updated printed inner sleeve with photos from the era as well as lyrics and updated liner notes. This updated version of Citizen's first record pays homage to a landmark record for the band and re-contextualizes it alongside their ever-growing catalog.

Liberation is the latest evolution by David West, a dedicated underground dweller and traveler with his groups Rat Columns and Rank/Xerox and previously spotted in Lace Curtain and Total Control. Many familiar elements of West's songwriting creep out from the speakers this time around, albeit in a sonically more adventurous and personal manner. Swathed in analogue and FM synths, pinned down by near-funk drum machines, and with a vision expanded into the past and future. While in previous incarnations, West's alienated and fragile vocal has battled with jangling guitars and distortion, Liberation sets free his woes and ruminations into space. Taking inspiration from the heyday of Mute Records, the beginnings of electronic dance music's rudimentary sampling, broken and sound art, Liberation's debut LP is 10 songs of the road, about the nameless ghosts on the highway, accidental lovers, the alienation of the stranger in a strange land, the unbearable weight of freedom.
Beginning with a curveball, Liberation's first vocal sets out the position of the forever-cuckold, the sad lover hanging on: Looking For A Lover combines a Roland 707's loping mid-tempo with creeped-out synth lines as West intones his intentions close to the ear. Continuing in a more baroque manner, Move Me makes astounding use of string samples and space, with esteemed engineer Mikey Young's (Total Control / Eddy Current Suppression Ring) production prowess making for a distilled yet inviting loneliness. Forget is the night-drive centerpiece of the album, a 7 minute that erupts into a nihilistic sub-disco darkness. A constant theme of Liberation is the friction between West's characters: a frustrated love in victim-status paired with a menacing intent. The adorable, fragile stalker in the moonlight, illuminated by Whatever You Want, a
subjugated protagonist offering they have while the city burns. The brightest pop moment of the album has this in abundance: Cold And Blue, a classic synth pop jam to be played on repeat til the end of time, like New Order played by one man in his bedroom, with no drugs for a cushion, coming down the stairs, she looks like a perfect fear and Im a monument to your existence. But West has moments of touching sincerity that speak direct to the listener, as in album highlight Leaves Falling; a sparse string arrangement frames his vocal, "why do I keep falling for you I must just really like to be alone." Liberation is the freedom from attachments, about how sometimes they're what you want most.

An onslaught of determined rhythms interlace in a glorious cacophony for the dance floor on Kim Dürbeck's latest. The Norwegian/Vietnamese artist unleashes a formidable din of percussion across six new pieces for Lek records.

A club record that takes furtive glances at the experimental, Lek003 is hardly an exercise in restraint as it carves its way through jungle and drum n bass to find its place on today's impetuous DJ booth where a new youthful energy has seen tempos reach heady heights.

As ever Dürbeck's Vietnamese heritage is strong as he weaves esoteric textures through the tapestry of monstrous kick drums and snares. The record eschews the conformity of a four to the floor, for something more assertive. From the familiar Amen constructions of a track like "Phu Yen Flow" to the more extreme outer edges of IDM with a track like "Wipeout", each track utilises the break beat in different adaptations throughout.

At the other end of the spectrum, Patås tames of "Nuoc Mam is my holy water" for a more tempered version and lets our head up for air, before Dürbeck brings the ruckus with his army of irreverent drum machines. There is no quarter given with perfunctory designs on the dance floor and the club context.

Spatial & Co is a synth-drizzled, spaced-out bass-heavy discoid-funk masterpiece from French disco lord and Arpadys maestro Sauveur Mallia. Recorded for French library label Tele Music, in 1979, it's by turns cosmic funk and creeping crime funk, bursting with low slung, k-i-l-l-e-r basslines, loping drum breaks and sparkling percussion. It's so funky it hurts.

Confidently swaggering out the gate is "Future Vision", with its loping yet dextrous bassline across strutting beats setting the scene. "Cosmic News", with its live crowd noises over killer bass work is reminiscent of Bernard & Nile's "Chic Cheer". The bass vs synth workout "Baby Bass" increases the propulsion whilst the dark and mysterious vibes of "Star Odyssey" serve as cosmic respite from being overpowered by funk. The temperature and tempo are raised with the bouncing sophisticated funk of "Meteor One", a slinky interstellar instrumental of the highest order before the sultry, melodic "Bass For Love" offers some attractive slow-mo sleaze to close out the first side.

Opening up Side B, the menacing, beatless "Space Alert" sounds like all those sci-fi theme tunes from your childhood, synthesised into one glorious (black) whole. "Galaxy Wars" is next, another majestic cosmic gem, sans drums. The ultra-percussive flex of "All The Bass" sees the return of the frenetic funky bass and neck-snapping drums. The stretched out funk of "O.V.N.I. Telex" is irresistible and cavernous in scope whilst the swirling, dramatic "Galactics" is an ominous yet melodic wonder. The throwaway funk-lite "Animals Bass" is a bit of a daft way to close out this otherwise flawless set but, hey, flirting with perfection is probably always more fun than actually achieving it.

Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!

The audio for Spatial & Co Vol. 1 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Abstraxion once again delivers another twist to his exotic musical tale with "Trance Body Music". A four track collection of 90’s-infused club rockets. Hi-NRG sounds that traverse the trance-techno-rave intersection.
Lead single ‘Whole’ is a distorted and relentless number that hammers along with skewed vocal chops and lashings of bounce. ‘Gold’ however, is a more pushy heads-down affair. It's ramped BPM and vocals muster dewy-eyed Bonzaimemories, whilst harnessing the free spirit of the resurging eurodance movement.
Next out of the rave cannon comes ‘Force’, with its fierce tempo, jittering synth stabs and playful melody working together to create a tidy dancefloor moment. The show is brought to a close with the bubbling title track Trance Body Music. A perfect, almost soothing, finale to a wonderfully energetic adventure.

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

Space Adventure Cobra is the animated series from the masterpiece of Buichi Terasawa, produced by the prestigious studio TMS Entertainment and broadcasted from 1982. The series was a huge success and remains to this day one of the most appreciated in the world of Japanese animation.
In order to celebrate the 40th anniversary of Space Adventure Cobra, we are pleased to offer this sublime vinyl box set of the OST with its 3 discs gathering a very large selection of music, all the songs (long versions) as well as several covers and rare unused tracks composed at the time, all completed by a 12-page booklet, illustrated with the most beautiful artworks of the master Terasawa!
The legendary soundtrack of Space Adventure Cobra, composed by Kentarô Haneda and YûjiÔno, has greatly contributed to the reputation of the series with notably rhythmic tracks, sublime jazz pieces and unforgettable songs.
Here it is now completely remastered in vinyl format & double CD in this collector's edition!

IMPERIAL EP

We figured it was time for some d&b again, we had a few tracks lying around for a while that we wanted to finish and put out and we had 2 collabs that went well together. We wanted to call it the "Tryhard EP", cause all the tracks were so full on. Then Nik & Karol (khomatech) started on the artwork, and couldn't really come up with anything cool with that name, so we decided 'Imperial' was a better name. The artwork took about a week to make. We are very proud of this EP.

IMPERIAL

Phace came out to Groningen again, as he tends to do, to do music. We started this one without working on the main groove first, Florian had brought this awesome chord progression. We made the intro and progression from it, which is quite different musically from our normal stuff. Then we went a bit theatrical with the music, I guess we kind of surprised ourselves with the intensity of the drop. But it was refreshing to do. And it's been going down rather well in our sets.

TRYHARD

This is an older track that has had quite a few incarnations. It used to be called "lomp", which translates to crude, or blunt. We had it lying around unfinished for a long time, and a certain youtube set rip was getting a lot of love, so we figured we'd finish it. Changed the mix, added a rollout section, etc. One of the inspirations for this track is Bad Company - Dogfight, such a sick tune.

DUSTUP

Our friends The Upbeats came down to Groningen amidst one of their Europe tours and we hung out, got in the studio, found an old unused bass riff, used it in the buildup, recorded all of us going 'HA' and 'ZU', worked on drum fills for a long time, temporarily called the tune 'Pumpers', jumped around in the studio and voila! "Dust Up" was born.

CONTAINMENT

This track has had many faces as well. It started as a bit of a Kemal tribute and and an attempt to do as many things with synths as possible, like the main drums for example (FM8). Along the way it became a journey back into the dark spacious sound of the early 2000's era of D&B.

Comes in standard full colour Vision Recordings repress sleeve.

solid white viny

There is big news from the camp at Greyscale Records. Greyscale #9 is here!! A well-respected veteran of the dub techno scene Upwellings (Vincent Raude), is the star of this show for the label's prominent's chapter of releases. Upwellings is not alone thought! #9 features stunning remixes by household names with Bluetrain (Steve O'Sullivan) and Ohm & Octal Industries makes this is one of the must have releases in 2023.

In true Upwellings form, 'Lark Dub' is a brisk and polished track that has a friendly groove that should delight all listener's while Bluetrain turns the remix to a more 4x4 affair naturally injecting it with a house flair. 'Fed on Dub' is a more stark contrast as the alternate featured track. Addictive sequenced sound elements combust like a scientific experiment gone awry. A deep groove that pulses heavy in the sub range. Ohm & Octal Industries up the tempo in their version while still relishing in the signature sound effects. Adding a bit of a melody in spaces brings in a beautiful soundscape and atmosphere to the overall shimmering track. To have all these excellent producers in support on one release is a true treat. Released on super clean white 180 gram vinyl as well as digital. This record will not leave your crate!

MONO have long drawn equal inspiration from the light and dark of life, spawning more than two decades of musical turbulence and melodic transcendence. Heaven Vol. 1 marks the beginning of a new annual tradition from MONO: A new EP released on Christmas Day each year, leaning into the light at precisely the time when we need it the most - surrounded by loved ones and hopeful for what the turn of the calendar may bring us. Recorded by Takaakira `Taka' Goto at his home studio in Japan (with drums recorded by Amak Golden at Golden Hive Studio in Prague) - and mixed by Rafael Anton Irisarri and Jeremy deVine at Black Knoll Studio in New York - Heaven Vol. 1 finds MONO at their most hopeful and cinematic. Of each of Heaven Vol. 1's three tracks, MONO offers these words: Lucia: "This song was written when our beloved longtime partner Jeremy (the owner of our American label Temporary Residence Ltd.) welcomed his second child. The song is constructed with two parts; the first part celebrates the birth of a new life and the second part heads towards dreams and hope. We wrote this song with the feeling of Santa Claus riding a sleigh through the snowstorm, smiling, jumping into the swirl of pure white light and carrying many dreams." Smile: "We drew upon the snowy scenery of Christmas that we experienced when we were young. Your exhaled breath is white. Your heart is dancing in the endless silvery white world, and when you are about to grab the snow with your hands and turn around, your parents look back at you with a smile. We wrote this song whilst remembering moments like this." Silent Embrace: "Time passed and we became adults. Life is like climbing and descending many steep mountains, but the reason we're still able to continue walking is because of our loved ones, colleagues, friends and family who quietly stand by us and giving us courage and strength. We wanted to express our gratitude with this song." Limited (220 copies ww) Single Colour (Purple Vinyl) Edition!

Drawing inspiration from the depths of late 70’s
NYC proto-rap disco instrumentals, Nigerian boogie,
Jamaican dub and modern jazzy house - The
Lahaar is a Trans-Tasman collaboration between
Julien Dyne, Horatio Luna and Surprise Chef’s
Lachlan Stuckey, featuring Mara TK and Toby Laing on vocals.
The EP embarks on a 5-track rollercoaster - kicking
off with “Doin’ It”, fast-paced jazz-funk peppered
with marimba and organ riffs, balanced out by the
siren vocals of Mara TK.
“Step 2” suddenly brakes and swerves into cruise
mode, repurposing the trumpets and dub echoes
- picking up tempo in the soulful melancholia of
“Work Work Work”. In the last two tracks the organs
and guitars make a frenetic comeback by way of
disco-house, ending with a nod to 70s cop movie
funk.

Miles Away Records are extremely proud to introduce our latest single by the incredible Howard Lemon Singers. You Are Somebody and For The Children are two blinding tracks cherry-picked from the incredibility rare 1977 album Seasons released on the legendary TK Records subsidiary Gospel Roots.
Both sides of this 45 are oozing with positivity and good sentiment, a fine example of the harmony between sacred and secular sounds, and the experimentation taking place, during the late 1970s as gospel artists were modernizing the soundtrack, and lyrical content of gospel music..
You Are Somebody is a gorgeous modern soul heater. Accomplished vocalist Esther Smith's sublime voice delivers her vocal lines with such confidence and assurance that the words seem to strut over the funky basslines and drumming support. Flip it over and For The Children is a more mid-tempo burner, but don't let this fool you - it's "stop-you-in-your-tracks" good. Smith's vocals once again shine brightly and are delightfully accompanied by the Nile Rodgers-esque 'wacka-wacka' guitar of Lester Snell throughout. Musicianship is of the highest quality as Howard Lemon, group leader, called upon some of the best musicians from STAX Records – Willie Hall and the aforementioned Lester Snell were key components of such groups as the Isaac Hayes Movement and the Bar Kays.
These two nuggets are presented here for the first time on a 45 and complete in our customary teal green labels and sleeve. Remastered and cut by Timmion.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows.

Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope).

More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate.

Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.

clear vinyl

Stephen Disario delivers four-tracks as the debut release on his newly-launched imprint, and in so doing sets the tone for the output we can expect in years to come: driving basslines and infectious percussion crafted with meticulous perfection.

Throughout the four tracks, Disario showcases what he does so well as a producer: groovy, funky techno that will always find its home in a proper underground techno setting.

The EP starts off with "Under The Rug", an hypnotic masterpiece that sucks listeners in and takes them deeper and deeper as the track's intensity builds and reaches its peak. "Walking Through Trees" is next, picking up the tempo with an added groove carrying the track throughout... a real dance floor mover.

The pace continues with "The Marathon", a percussion-driven stomper characterized by well-crafted peaks and valleys permeated by distorted eerie vocals.

To conclude the EP, "Lights Down Under" showcases Disario's other signature techno soundscape. Here he takes the funk route, using an 808 clap and eerie howl broken by hard to discern and yet catchy vocals to great results.

Taka Noda AKA Mystica Tribe has been releasing deep music on vinyl since 2011 on labels including SD Records, Solar Phenomena, Silent Season, and his own Mystica Tribe Records. Working in the dub/techno continuum, he is one of only a handful of artists who creates brilliant tunes at both ends of the spectrum, from heavy, psychedelic warehouse techno to beautifully orthodox reggae-infused dubwise. For his first ZamZam, he leans hard into the latter.

Noda describes his approach to these tunes as a “virtual live band,” and while “the only real live instrument is the melodica, I wanted to capture the energy of a live band with this song.”

A master of both melody and rhythm, Noda does exactly that with “Ido” (which means a well for water). The mood hits immediately with a loose & confident groove built from impossibly-live sounding drum work, a perfect orthodox bassline, and achingly beautiful interplay between piano, clav, and melodica. Somehow both melancholy and bright, it captures that moment when winter gives way to the first hint of spring, sun finally breaking through clouds after months of rain and darkness.

Rather than a simple dub of the A side, the version is a complete rebuild of the tune. “Ido - Renren Version” (which means flowing like tears, or a river) drops the tempo down to 120 but goes harder rhythmically in spite of its slower tempo. Opening with a stark, dark, and menacingly driving bassline and warped dub siren, the vibe is completely transformed from above-ground to below. Hard percussion, new melodica parts, and 4-4 hats & kick take it into that full post-punk dub territory that the world needs more of. Much more!!

Tartelet Records is thrilled to present the debut album from Doc Sleep – 10 tracks of exquisitely rendered melodies and rhythms shaped with grit and beauty in equal measure. Birds (in my mind anyway) is a widescreen vision of electronica as a medium to express your personal situation and respond to your environment – a rave adjacent art form free from the perceived rules of the dancefloor. To date, Melissa Maristuen known as Doc Sleep has established herself in the context of the club – first engaging with the culture in San Francisco before moving to Berlin. She helps run the Room 4 Resistance party, DJs on Refuge Worldwide, co- owns the Jacktone label and has released on Detour, Dark Entries and her own label. But in making Birds (in my mind anyway) she set herself an ultimatum.

“At the time of recording this album, my life, all my routines and priorities had to change – music was no exception. I decided if I couldn't be happy making an album free of the dancefloor, I was finally going to be done with music. Instead, I found a musical voice free of tempo and textural restriction. Eventually, I had a sound, and once I had the sound, the album came pretty quickly. It was a very different process writing music for no one...except myself.”

If the impression given is one of a consistent style across the album, think again. Doc Sleep moves freely between tempos and themes, even if there are some recurring qualities binding the music together. She weaves fluttering arps with poise, lending them an almost choral quality which gives the album a very human touch. But they’re equally emotionally ambiguous or pockmarked with sonic interference – reflections of the collisions and conflicts
that typify the human experience.

Every inch of the album is a personal touch – the title was pulled from Doc Sleep’s mother’s response to hearing the album, while her friend Kiernan Laveaux offered a beautiful text which appears on the back. Those closest to her all fed into the artwork process, which captures the curious dichotomy between urban brutalism and botanical finery often found in the parks of Berlin – a vital place of respite when she was making the album.

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Close to five years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their third album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition. With a title like that arriving at this point in time, it's tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these ten songs arc back much further in time, charged with their own personalised internal damage. Trauma, in its myriad forms, is often hard to qualify, even harder to rationalise. When something begins to go wrong, how do you gain perspective? What is a temporary roadblock, and what is unmitigated disaster? In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down. And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world, possibly to remain that way forever. And yet, there was to be a second act. If mutability is our tragedy, it's also our hope, clearer days slowly began to emerge as the bad slipped away. The wound, as the saying goes, is the place where the light enters you. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the five time to reflect on what had already been committed to tape.. As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma. What they rediscovered was a record that seemed to preempt the shared grief of a global pandemic. Even if the specifics were different, the themes were uncannily similar. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet. RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound, Stereolab.

Planet Mu welcomes back Meemo Comma for her third album 'Loverboy'. 'Loverboy' is a shift in gear from Meemo Comma’s previous works, speeding up the tempos and rhythms, it's set in the nineties with trance, breakbeat hardcore and jungle as some of the influences. After playing a club gig in Spain as lockdown rules were loosening, Rix-Martin was reminded of the power music and people coming together creates. ‘Loverboy’ is peppered with influences from friends past and new as well as artists that have transformed the sound of Meemo Comma over the years, including Autechre, Guy Called Gerald, Orbital and Shitmat as well as others. On this journey we follow ‘Loverboy’ through the club as the night builds and different characters are met, from dropping the first pill to a euphoric ‘Cloudscape’ whilst waiting in the queue, to meeting some shady sorts in ‘Loneheath’. The album changes pace throughout with different rooms of the club being explored which add to the brevity of Rix-Martin’s production style on tracks such as 'Kyle' and 'AK47'. What started as a personal joke about Rix-Martin’s background formed a narrative for some darker, cheeky breaks that echo back on title track ‘Loverboy’, a track that Rix-Martin describes as “working class gender euphoria”.Maybe the mask has come off, and the shackles of pseudo-intellectualism have been put to rest for an honest, fun and ‘propa cheeky’ rave album instead.

Murmuur is audible in the dark only.
And shall be listened at high volume.
A side brings 180 BPM 45 RPM mental Industrial Hardcore... The flip goes Doom and Downtempo with atmosferic drops... landing on a thick fat pityless kick ! And then will come the last tune : a double tempo Doom thing, sober and apocalyptic !
All in one, Murmuur brings massives kicks & extreme sound designs. This reminds me a bit of Hangars Liquid sound...

Splendid bi-color plate (B&W), coming in a gatefold sleeve.
Records are sealed.

Expensive record for a single but really was expensive and also... shipment and customes from Australia were crazy...
Records' sleeves arrived in perfect condition to us :) That's already a good news ^^

ENJOY.


b A2 Death In The Forms Murmuur Remix

Repress

Palms Trax signals the arrival of his new label CWPT with ‘Petu’, a new single featuring South African vocalist, Nonku Phiri. Originally debuting in dub form during the Berlin-based DJ and producer’s set at The Music Locker as part of Grand Theft Auto Online, ‘Petu’ re-emerges here as a soulful collaboration, neatly complimented by a wide-eyed take from Masalo.

Initially written as a slow-heating instrumental to connect the various musical dots across a DJ set, Palms Trax nonetheless had a vocalist in mind throughout, a fresh voice to lend ‘Petu’ universality and energy. Introduced through mutual friend Esa, Johannesburg’s Nonku Phiri draws on her signature style influenced by vintage Afropop styles and folk traditions, delivering a smooth and vulnerable tale of desire. Triumphant brass recorded by instrumental collective Jungle By Night adds to the depth of instrumentation and feeling throughout, each element driven by Palms Trax’s ebullient percussion and an altogether celebratory energy felt across both the original and dub cuts.

Closely associated with Dutch dance music staple Rush Hour Records, Masalo subtly raises the tempo on his high-energy rework of Petu, spinning off the interconnected elements of the original into a memorable and gloriously Italo-tinged house trip.

Established in 2021, CWPT will play home to Palms Trax original productions alongside collaborations, mixtapes, new-generation artists and vital reissues. An online blog will feature interviews, reportage and charts exploring the stories past and present at the fringe of Palms Trax’s wide-reaching record collection.

Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland’s current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade –with whom he released his acclaimed debut album in 2020–.

His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' Shall Not Fade, 2022, fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor.

‘Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

Bondo is four Los Angeles musicians collaging displaced tempos and fractured melodies. Their sparsely vocalised music conspires to bring into view a practical enlightenment, evoking the sandy contentment of an exhausted marine sunset. The organically mechanical compositions wander with the intention not to be aimless, but to be consumed in Process.
Bondo comes to Quindi Records to release its first full-length album, Print Selections, and it is saturated in the communal consciousness of the band. The songs call for the individuals to dissolve to make way for the music.
The lyrical content of the record tells of a mind made anew, cleared of its data & ego to witness nothing in particular. Bringing the past with them, the band makes clear allusions to their influences - their tones reminiscent of outfits like Duster, Unwound, Acetone & Fugazi, but also has heavy nods to more formless genres like the dub melodies of King Tubby and the jazz of Archie Shepp.
The music feels like the dusty bed of a scanner, plays like the light leaking from underneath its lid.