quête:the new bra

Even if you don't know her name - you will know her voice. It's 'Melbourne's High Priestess Of Soul' Kylie Auldist's unmistakable vocals on the 2016 global dance hit 'This Girl' by Kungs vs Cookin' on 3 Burners - the track that not only topped almost every pop chart across the planet, featured in many TV shows, adverts and films and social media memes, and has achieved over 1 billion streams & climbing. But of course, that's far from the whole story. Kylie established her enviable reputation as the featured vocalist in the awesome Australian outfits The Bamboos, and Cookin' On 3 Burners, and her fantastically well received solo albums for Tru Thoughts; 'Just Say' (2008), 'Made of Stone' (2009) and 'Still Life' (2012) and 'Family Tree' Freestyle Records (2016). Kylie's brand new album - 'This Is What Happiness Looks Like', her first for Greg Boraman's brand new label Soul Bank Music, further develops the musical approach she began on it's predecessor 'Family Tree' - and is very firmly entrenched on an electro boogie tip, rooted deep in the New York club scene of the early 80's. The opening track 'Everythink' sets out that 1980's electro-boogie sound and then fuses it with the song writing of a classic Wham or Hall & Oates tune - it has an infectious, slinky Moog synth bass line that will lodge itself in people's minds. Kylie's simply stunning vocal performance on this breezy and summery tune will surely make it a future classic. Producers Warren Hunter and Lewis Moody skills in the studio have brought forth many musical highlights on this album, but special mention has to be made for Is It Fun? This is where a brilliant and incredibly infectious composition is further enhanced by some top notch instrumentalists, perfectly executed production, a simply beautiful vocal performance, and results in what should surely end up being an anthemic, brand new 'soul weekender' style classic. Soul boys & girls, funkateers and disco fans won't be able to stop themselves falling deeply for this new collection of tunes, because it's not only a highly original take on a classic sound, but it was conceived, performed and recorded with a genuine passion and love, as Kylie says "Some albums are written fast, some take a long time, some albums experience setbacks, become beset by creative blocks and personal issues, and can generally be a whole lot of hard work which makes you question why you even bothered to start it in the first place - this was not one of those albums - hence the title 'This Is What Happiness Looks Like'!

A virtuoso pianist and composer of seminal works in early electronic and experimental classical music, Jocy de Oliveira’s musical output has had a great influence within Brazil and abroad. Her sole contribution to Brazilian popular music, her 1959-recorded album, ‘A Música Século XX de Jocy’ in many ways stands apart from the rest of her artistic oeuvre.

The original vinyl release marketed the record as adding to Brazil’s samba heritage with a ‘simple and original dialectic’, naming its style ‘vanguard samba’, which differs from both traditional samba and Bossa Nova, in its infancy at the time.

Listening to Jocy’s ‘20th century music’ in the context of the contemporaneous and vastly more influential Bossa Nova style is especially striking. Where Bossa Nova’s innovators incorporated influences from jazz and French piano music to a samba foundation, Jocy de Oliveira took a greater leap, wedding her century’s classical music to samba. Where Bossa Nova dawned a new epoch of poetic lyricism in Brazilian popular songs with great poets such as Vinicius de Moraes and themes of longing, love and nature, Jocy de Oliveira’s lyrics are concerned with scenes of urban tragedy and decay, presenting an alternative vision to Brazil’s stereotypical tropical paradise image almost 10 years before the emergence of the Tropicália movement.

The sounds and lyrics of Jocy’s landmark release still shock today. Put in the context of a conservative Brazil on the eve of Brasília’s inauguration, it is even more startling that this record ever got made. An unconventional mix of classical and popular musical influences combined with socially critical, ironic and at times journalistic lyrics make for a unique listening experience.

A unique representation of Brazilian popular music, Jocy de Oliveira’s masterpiece ‘A Música Século XX de Jocy’ is reissued for the first time. Meticulously remastered, the record is pressed on high-quality 45-RPM vinyl, with a modernised back cover and printed inner sleeve including previously unseen pictures taken for the record’s release in 1959.

Released in 2011 on the compilation «Mental Beauty » on record label, Composite Records, DJ Yellow teamed up with his friends,Tiago Fragateiro and the sublime singer Tracey K, to create the song "Special". This track had major success in the clubs and on the radio, with DJ’s like Hot Since 82 featuring it on his Pirate Ship Mix, as well as it landing in the Beatport top ten.Now Poussez Music has decided to re-release « Special » on vinyl and digital including a new mix of the original , DJ yellow’s Sleep No More remix, and a brand new track « Don’t you know ».This EP will be released on 12" vinyl and digital on Poussez Music in May 2020.

Our new slice of wax comes this time from outer space made somewhere between unknown galaxies and black holes. The spaceship’s pilot is 30drop, a mysterious alias that has been running its platform 30D for a long while now and is not often seen outside its realm. So it’s an honor for us to have 30drop onboard.

For this special occasion 30drop provides six cuts of futuristic techno but with a ravey approach in a time backspin that brings us back to the 90’s via Sci-Fi, reminding in some way of the early UR records, when Mad Mike and Jeff Mills worked together on the soundtrack of the future.

This is our first mini LP with 3 cuts per side. The first cut is Brain reset, the short drone intro soon leads to a relentless groove made of repetitive sequences over a fast groove. Intense and obsessive.

Mental Understanding brings more minimalistic ingredients, absence of hi hats, just kick drum and synth lines.

Brain effervescence showcases the infamous 90’s hoover sound bringing the rave element and 303 acid lines all merged in a lawless and dense mixture.

B side opens with Self awareness, starting with ethereal atmospheres, spiced with resonant bleeps and micro drones in a beat-less exercise.

Klapaucjusz brings back the 90’s feeling again with analogue arpeggios and melodies, again over a clean groove in a Detroit oriented number.

Closing the release, Knowledge, a space odyssey of strings, abstract synth lines and flotation.

A work that showcases the skills of this well-seasoned producer that stands apart from any trends, futuristic, atemporal and scientifically crafted.

W&P by 30drop

Meda Fury is so gassed to welcome Silvestre back for a virtual hug and a 5 track EP of new jams and remix fire! The Lisbon boy done good has been enjoying some well earned praise for his last few releases - his '...is boss EP' on Secretsundaze, 'Girar' on Diskotopia, and 'Yeah' via yours truly. Gigs in Amsterdam, Bristol, Porto, London and Lisbon followed - including his debut on Boiler Room. For this new EP we are served 3 brand new Silvestre tracks and 2 huge remixes from one of the most respected labels in Lisbon - Príncipe! 'Todos Bem' starts as an organ led scratch-fest, with a tight auto-tune vocal from Silvestre himself, before mutating into an anthemic/hedonistic 303 acid and whistle banger! This euphoric string-laden track equally at home in Ibiza or Notting Hill Carnival! 'Paga O Que Deves' is up next; Joao's love of grime and UK bass culture is evident from the drop, twisted synths and breaks recall everyone from Eastman to Wiley. On the flip we find serious remix pressure from Silvestre's friends and contemporaries - the Lisbon crew of Príncipe! DJ Firmeza is up first, pushing the tempo way up on 'Yeah', turning it into a banging kuduro rave monster, propulsive batida drums upping the temperature. DJ Lilocox follows with an intense remix of 'Demónios Na Cabeça', converting it into a percussive trancey big-room bomb. Layers of mixed afro/gqom drums follow a strict samba-like rhythm forcing hands and possibly the ceiling higher.

ATA's newest release comes from The Yorkshire Film & Television Orchestra and features the vocal talents of Bugalu Foundation & Mind On Fire vocalist Martin Connor. This cover of the Georgie Fame classic "Somebody Stole My Thunder" features a powerhouse vocal performance from Martin Connor alongside the heavyweight big band brass sound of the Yorkshire Film & Television Orchestra's 10 piece horn section. This 7" single is backed with Rachel Modest's debut recording for the label, her intense vocal rendition of the Ben E King classic "I Who Have Nothing". Both tracks feature the trademark elements of the ATA sound: Big brass arrangements sit alongside the propulsive rhythm section, perfectly supporting both singers incredible performances.

Originally appearing as part of ATA Records free download series "Hard Work, No Pay" these 2 tracks have been sought after on vinyl for some time after garnering radio play and positive responses from BBC6 Music's Craig Charles Funk & Soul Show and the Huey Morgan show.

The Yorkshire Film And Television Orchestra is the brainchild of ATA founders Neil Innes & Pete Williams and multi-instrumentalist/arranger Steve Parry, who was approached by Neil & Pete in 2014 to provide the horn arrangements and brass performances for a then untitled British library style track intended for release as a 45. That track went on to become the track "Hawkshaw Philly" and features on the compilation "Early Works: Funk, Soul & Afro Rarities From The Archives" released earlier this year. Their shared love of huge big band arrangements and British library music ensured future collaborations, notably on this year's "ATA Records: The Library Archive Vol. 1".

Martin Connor is a well known face to anyone familiar with the Mancherster music scene and has spent 10 years as part of the Manchester collective "Mind On Fire" before providing vocals for the Latin-Funk band Bugalu Foundation (Legere Recordings).

Sheffield born,Rachel Modest developed her unique vocal ability within the churches and gospel choirs of her local community. Now based in Leeds she has developed a powerful and soulful vocal style that takes inspiration from artists such as Madeleine Bell, Dee Dee Warwick, and Dusty Springfield. Her debut for the label was this cover of the Ben E King classic "I, Who Have Nothing", which was later followed by an appearance on the debut 45 by The Magnificent Tape Band "Patterns in My Mind"and her own solo 45 "I Try/Forbidden Love", as well as collaborating with The Magnificent Tape Band on their debut LP "The Subtle Art Of Distraction" all of which received radio support from the likes of Gilles Peterson (BBC6 Music), Huey Morgan (BBC6 Music/Radio 2) and Lauren Laverne (BBC6 Music).

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

Neotnas feat. Philosopher is a new collab of electronic music producers from Russia (Chelyabinsk and Moscow accordingly). As the environment of the cities mentioned as well as social milieu vary significantly a profound personal reflection of the artists results in a very specific outlook sculpted by both history and presence of Russia – a surprisingly nice stuff inspired mainly by jazz, ambient and trip-hop. Four new tracks give a deep insight into the way the artists feel the groove and associate it within a dancefloor culture regarding its roots and worldwide influence. Two of them (Jazz Engine and You're Mine) – are 124 BPM house party cuts place all the emphasis on intensively syncopated TR-808 hi-hats layered with properly selected percussive jazz elements and flavored with brass licks and reverbed chords, catchy vox and driving by a grit kick and pumping low bass patterns. Another one (Spirits Of A Dawn) cautiously takes a listener to a personal journey to the edge of an imaginary big city, leaving its downtown, and moving out of the night shade slowly, coming near a sleepy morning glimmering focusing on a light sparks of a new day. The last but not the least track (Traffic Love) is a dense powerful banger galvanizes trip-hop beats and house chords with a lush and mystic 90`s female vocal all together aimed to stir up a crowd on a dancefloor and make them wet and happy. This release – fresh and diverse – will definitely hits it off with a large audience and joins a marketplace properly.

Imagine for a minute that Klein MBO would return from the Italo heaven to deliver a brand new EP. How amazing would that be? Sometimes such miracles lay just around the corner. Nijmegen based Luca Dell’Orso found some sort of time machine that brought him back to the days of Disco Magic and Il Discotto; a time where wobbly synths, heart felt handclaps and sweet melodies flled the air. After appearances on Red Laser Records, Bordello A Parigi and Shmlss’ label XXX it’s time for his debut on Utrecht based SoHaSo sublabel OOSSHA. Filled to the rims with stylish Italo-disco, the Eternal Waves-EP has it all. Slow motion Gaz Nevada-esque disco on Common Occurrence (which comes with two beautiful Cosmo Vitelli-remixes); sun blissed and fast paced happiness on Return Of You and stark new wave- vibes on Constriction. Closer Bont & Blauw proves that Luca understands the essence of the genre. It has the same fnesse of the best Gazebo-records, back in the day. If you have a heart for italo, you don’t want to miss this perfect wave.

Following 2019’s release of Azymuth’s Demos (1973-75), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti’s private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history.

Featuring an instrumental take on Roberto and Erasmo Carlos’ 1969 Jovem Guarda hit “As Curvas da Estrada de Santos”, and spacey psych-folk oddity “Zé e Paraná”, the new 7” release via Far Out Recordings shines yet more light on this critical period for Azymuth.

As is the case with many of Brazil’s pop icons, Roberto and Erasmo Carlos had been backed by Bertrami, Malheiros and Conti either on stage, in the studio, or with compositions (in Bertami’s case) since the late sixties. Conti notes that “As Curvas da Estrada de Santos” was a big hit in Brazil when it came out in ‘69 and had already been covered by Elis Regina a year later.

But where both Elis’ version and the original were grand pop-rock ballads, Azymuth’s take is a moody, melodic jazz excursion, featuring Bertami’s incredible Hammond organ, Fender Rhodes and grand piano juggling, Ivan Mamao Conti’s distinctively tough drums, and unusually, Alex Malheiros plays a double bass instead of an electric one.

As the title suggests, “Zé e Paraná” is guitarist João Américo (Paraná) playing alongside Bertami’s Rhodes comping, synth embellishments and dreamy wordless vocals. While credited as the composer and guitarist on “Linha do Horizonte” a track from Azymuth’s debut album which would become the theme tune for a famous novella, Paraná has to this day, remained relatively unknown.

Both tracks were recorded in Jose Roberto Bertrami’s house in Rio de Janiero at some point between 1973-75. These tracks were not recorded in a professional studio, meaning the sound quality differs from other Azymuth releases. At Far Out we take great pride and extreme care in ensuring our releases and reissues are produced to the best possible sound quality. In this case the original source material had not aged well and was considerably damaged. The sound has been restored to the best possible condition but there is still some noticeable tape hiss and slight distortion on ‘Zé e Paraná’. For this reason, we strongly advise listening to preview clips before buying this release.

Keyboards: José Roberto Bertrami

Guitar: João Américo ‘Paraná’

Produced by Azymuth and José Roberto Bertrami

Recorded at José Roberto Bertrami’s home studio in

Laranjeiras, Rio De Janeiro, Brazil 1973

Issue and project co-ordinator: Joe Davis

Additional tape restoration by Daniel Maunick at the Sugar Shack

Mastered by Frank at Carvery Cuts

“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents The memory Kinda Lingers - lovingly mastered on 2 x 180g heavyweight Hedgehog Splatter vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage.
Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick, Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes

Put Your Head Above The Parakeets’ is a brand new EP from HAAi, her second for Mute.

The EP features four brand new tracks including the pseudo title track ‘Head Above The Parakeets’, which exudes a woozy summery heat while ‘Rotating in Unison’ embraces positivity, written in
response to this year’s enforced slowdown.

The final two tracks take us back to the club, where HAAi is known for spinning genre-bending and spellbinding DJ sets.

The EP is available on green vinyl and includes a digital download code.

‘Nordic Soul’ singer, producer, composer and DJ Astrid Engberg feels the light on new album, Tulpa. Overcoming a life-changing brain trauma through sonic explorations of contemporary electronic-organic jazz layered with strings, horns and percussive minimalism. Interplaying between contemporary soul, classical, electronic music, jazz improvisation and her hiphop roots, Astrid sketches sonic landscapes that are both steeped in her Scandinavian roots and infused with the kaleidoscopic hues of her many travels.

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker MUMIA, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

Cogitate is the first release from NYC local Promoter and an invitation to gaze inward and sit with sound. Borne of hours lost in loops, Promoter calls forth deep, dubby bass rumble, off-kilter rhythms and murky atmospherics, relishing in repetition and evolving subliminally but surely. Disorienting, engaging and engulfing, Cogitate is the 4th release on NYC-based Patience, catching you off guard then inviting you in.

Cogitate offers two cuts from the same cloth - one locked into the grid, the other drifting far above it. Both begin with shards of static cascading over submerged synth stabs - on Cogitate 1.1 a bassline bubbles up from below before a kick drum sneaks in and drops anchor, driving forward a slice of sparse zero gravity dub techno for a zonked out dancefloor in a dream. Cogitate 2.0 offers a pared back version of 1.1, slowed down and stripped of the rhythm section. A gentle brain scrub or a cascade of mind tricks depending on your headspace. Is the sequence evolving or is your perspective on it shifting? Does this sound like something I know or nothing at all? Has this been going for 3 minutes or 3 hours? Is this climax sublime or simply creepy?

Whatever it is, Promoter presents an opportunity to let the mind wander, and offers proof that repetition invites participation. Both cuts simmer in ambiguous emotion, never spelling out what to feel but allowing the listener to be their own trip commander.

Promoter is a new project from a life-long NYC resident, most recently releasing a couple of 12”s under the Image Man moniker, who for the most part would prefer that the music is received on it’s own terms, with a mind wide open.

Cogitate 1.1 was mixed by Mood Hut mixologist CZ Wang. Both tracks were mastered by M. Geddes Gengras.

Following this release will be an extremely limited cassette of material recorded in the same time and (head)space. Keep an ear to the ground for that one.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Soft Cell have today revealed more details about the limited-edition 7″ vinyl EP which will accompany their previously announced photo-book ‘To Show You I’ve Been There’ which was published in May.

Entitled ‘Magick Mutants’, the exclusive EP features four previously unreleased tracks: three brand new re-workings of the early Soft Cell classics ‘Bleak Is My Favourite Cliche’, ‘Science Fiction Stories’ and ‘The Girl With The Patent Leather Face’, alongside a cover of the late Fad Gadget’s seminal 1979 single ‘Back To Nature’, and the EP release is also dedicated to Fad Gadget who studied alongside Marc Almond and Dave Ball at Leeds Polytechnic.

Intended as a sequel to 1980’s ‘Mutant Moments’ release, the new EP features artwork by the band’s Dave Ball, also who created the ‘Mutant Moments’ sleeve.

PRESSED ON ECO-FRIENDLY VINYL AT THE GREENEST PRESSING PLANT IN THE WORLD

The ends of days are ones with which Damian Lazarus is familiar, but, much like his biblical namesake, he too, has come back from the brink and risen to fight on, his career is interwoven with themes of survival and re-birth. Fittingly then, his second solo album does not wallow in our current dark times but charts a path of hope. Flourish, offers a glimpse of a new world worth living in and surviving for.

Flourish takes us through the many lives of Damian Lazarus, who, as he has grown older, and traversed the globe, has come to more deeply examine the role the dance floor plays in his own life and that of others. With parties cancelled, it would have been easy to wallow, but instead urgency took hold, and isolated Italian countryside Damian took the space to tackle the larger questions he has been grappling with for years.

As anyone who has watched Lazarus DJ can attest, his inspirations are deep and varied, criss-crossing show tunes, drum n bass, jazz, electro, soul, house, techno and everything in-between. This album reflects his immersion in a multitude of scenes over the years, from the early days of London drum n bass, to his role as a figurehead in the electroclash scene, and of course the significant impact his Crosstown Rebels label has had on contemporary underground house and techno. Flourish is far from a box of functional DJ tools, in the same way as Damian’s debut album Smoke The Monster Out or the more worldly outings in his brace of albums with the Ancient Moons. It’s a personal, brave and varied body of work. It’s also the work of an artist who has grown over the ten years since his last solo album. Lazarus plays with nuances of texture, tempo and style to create a rich and dense album that takes us on an odyssey that is at times both dark and uplifting. Vocals of his own cast an intimate shadow over the album with those of his sole collaborator Jem Cooke offering a soothing balance amidst the madness.

Damian’s work reminds us that however taxing the journeys there are always moments of beauty to be found.

Triangulating a slinky signal to a square mile off the Swan River, Glowing Pin bring us ‘Pentagon Palette’, a master blast of frequency adjusted house, swamp stomp and chakra charmers from Australian newcomer Jonus Eric.

Though opening brace ‘The Cult’ and ‘Collect’ made first contact back in 2014, a loose connection between Perth and Hamburg hindered progress before ‘Mirrors’, ‘Emulator’ and ‘Waterfall’ walked across the web in 2019 to round out a dope debut release from this house auteur. Specialising in mind altering sound design and melodic flair, Jonus generates a neon swamp on ‘The Cult’, serving up a psychoactive roller caked in radioactive fuzz and insectile fizz. Thick bass swells and circular marimba make for a hypnotic rhythm, while a shapeshifting vocal and moody keyboard riff drag us back towards terra firma. The paradisiac refrain of ‘Collect’ soon sounds out through the jungle with a euphoric haze,

its sub-tickling bass and acid gurgle riding hyperactive drum programming as the track warps in the humidity. Soaked in serotonin and brisk at 137 BPM, ‘Mirrors’ burns off the mist to offer an airy update on the French Touch template. Though frazzled circuitry and dislocated vox serve this one with a twist, the chiming pianos and bouncy beat are still best enjoyed in a Golf GTI in the summertime. Jonus reaches for the lasers via the restless rhythm and rave sirens of ‘Emulator’, a fresh take on the funky house of the late nineties updated with unexpected breaks, squealing feedback and treated vocals usually found on a Four Set banger.

Next it’s off to the chillout room for ‘Waterfalls’, a fourth-world tone poem describing crystal caves, undiscovered wildlife and a holographic waterfall. Ditching the doof, and letting those colours tesselate, Jonus offers a +2 bump to your mana, before the post punk bassline, growling EBM vocal and off key organs of ‘YR Mind’ combine for a confrontational bonus track, only available in digital format.

Tape / Cassette
Brand new 70 mins blast from the Hair & Treasure crew pressed a double dung casing for your listening (dis)pleasure.

Recorded between 2017 - 2019 into Uncle Eddie's VHS player, magik happens inside the Archers boudoir.'

In the band’s own words:

‘’A clumsy wife with a tricky nose wants to feel deserving of her husband and a former male beauty pageant winner wants his out-of-place arm implants revised or removed.

Rating 6.2 “

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called DOOM SESSIONS. We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. This record you are holding is VOL. 2 - a split album with our heavy doom bands 1782 and Acid Mammoth. 1782 is premiering three brand new tracks "Bloody Ritual", "Hey Satan" and "Witch Death Cult". Acid Mammoth is releaasing three new tracks too: "Black Wedding", "Sleepless Malice" and "Cosmic Pyres".

Hot on the heels of their proud new charity project and first ever compilation ‘Freeride Millenium presents Queer Base’, this agenda setting label returns with an evocative new EP from Brazilian artist Rotciv, also appearing on vinyl in collaboration with Pauls Musique. DJing since 1996 and Berlin based since 2010, Rotciv has been playing places like the acclaimed Panorama Bar, Frankfurt’s legendary Robert Johnson club and the Cocktail D’Amore parties for many years. He runs Mister Mistery, a label focused on house music, while also releasing himself on Luv Shack, Unterton (Ostgut Ton) Skylax and many more. All this comes alongside his The Rimshooters project with Massimiliano Pagliara. He kicks off this fresh EP with ‘Number of Names’, a rugged roller on the border between house and techno with a phased bassline and rolling chords that get you in a meditative state. The more upbeat ‘Glutamate Transmission’ gets you shifting shapes with its daubs of acid, crisp percussive flashes and busy bassline, then ‘True Colour’ has an old school Chicago feel with its chatty claps and acid lines. The moods continue to evolve with style on ‘Bubbles The Chimp’, a tense cut of broken techno, futuristic machine sounds and lively synths. Beautiful ambient closer ‘Soundwaves’ is a lush comedown amongst the stars. This is a fully formed and journeying EP of fantastic underground sounds with artwork by Daniel Rajcsanyi.

Vinyl Edition Featuring New Art! Features Guest Verses From Cormega, N.O.R.E., Meyhem Lauren, Freddie Gibbs, And More Plus Guest Production From Alchemist, DJ Premier, Pete Rock, And More. Kool G Rap doesn’t let his legend status stop him from continuing to do what he loves. Last year, the Corona, Queens veteran dropped his ‘Return Of The Don’ album, and in 2018, he’s following up the solid effort with a collaborative album full of heavy hitters behind the boards and on the mic, alongside Rochester native 38 Spesh (aka $pesh), who linked with Griselda Records’ Benny the Butcher earlier this year for the well-received ‘Stabbed & Shot’ album. The album’s tracklisting boasts veteran features like Cormega and NORE, while also brandishing newer school spitters like Freddie Gibbs and Meyhem Lauren, and Griselda Records’ Benny The Butcher. Behind the boards, as mentioned, KGR summoned production akin to MCing prowess. Alchemist heads up “Land Mine” while DJ Premier and Pete Rock lay the beats for two tracks each. Album mainstays Midnite and 38 Spesh handle most of the rest of the production. Overall, the project is a lot of what you’d expect from Kool G Rap: grimy street rhymes full of stories of peril and the beats to match. On “Land Mine,” the duo of 38 Spesh and Ransom provide a rather introspective look-back on their troubled come up while a song like “Flow Gods” reminds everyone that G and his assembly are nothing to be taken lightly when it comes to witty wordplay and velvety smooth bars.

The New Mastersounds have been delighting audiences with their infectious brand of funky soul-jazz for the two decades since they formed in Leeds in 1999. For the first five years of the band's career they were regulars at the Jazz Café in London, before they began to turn heads on the funk scene in the US, where guitarist/producer/bandleader Eddie Roberts now lives. For over a decade they have been a staple act of the late-night scene during New Orleans' annual Jazz Fest.

Recorded at Color Red Studios in Denver in December 2018, "Shake It" is a fresh Anglo-American collaboration between the band and vocalist Lamar Williams Jr (son of the late Allman Brothers bassist Lamar Williams), with high-class soulful horns from Mike Olmos & Jason Mingledorff, and percussion by Jeff Franca of Thievery Corporation

The first two singles from the album - "Let's Go Back" and "Kings & Queens" - are already enjoying radio support in UK (BBC6Music), France (FIP, RDWA), Spain (Radio 3, Radio Catalunya, Radio Calvia), Italy (Radio Populare), Germany (Radio Z) and Belgium (Radio Skorpio).














j 10. On The Up (S.K.A.) [feat. Lamar Williams Jr]










[j] 10. On The Up (S.K.A.) [feat. Lamar Williams Jr]

Brand new release from Turbo Guidance Entertainment! We deliver a compilation with 4 versatile dubs cooked by our wizards ! Pablo Bozzi (half of Imperial Black Unit and half of Infravision) signed "Sangria Sound System N°1", a slow burner italo-disco track. Perfect to close a cosmic set in the afternoon drinking pepper-mint lemonades! Cowbells everywhere and powerful arpeggiator. Watch out the guy, this year is going to his year! In the second position we have a reggae-disco remix from the man Androo; part of NS Kroo and also well known on the label Music From Memory. He totally switched the
original dub techno track of Babe Roots into something sweet and bouncy. Lobster for you ears. You can even ear autotune on the vocal! Awesome! Coming at the third place, here come Komodo from Indonesia! "Funky Buzz" is a perfect blend of tribal and dub rhythms with a repetitive bassline. Big delays and full effects to rock iguanas. Komodo is a rising star of South Asia, look at the sky to see him shining like a Telsa soon ! And last but not least, we serve you a sweet downtempo riddim from Mali-I aka Z Lovecraft (Rhythm Section). He built a hip-hop influenced track with aerial chords. Perfect music if you want to take the mic and try to toast like a real badboy. Only 400 copies for the world. Sleeve visual is gently printed in risography 3 colors at Shift Studio (Tunisia) - DIY each and everytime.

From London, UK, the multifaced and talented artist Bram Droulers presents a work of perfect classical minimal synth. Simple, direct, elegant and very cold compositions that captivate from the very first listen. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

Total F***ing Banger time, The first brand-new from Athens of the North house band 'East Coast Love Affair'. A version of super rare Disco 45 Sky's The Limit' - 'Don't Be Afraid'. Deep cosmic disco that's going to make everyone happy. Flipped with a tribute to you know who, or you should. This is the first in a series of covers we will release over the next 6 months with an LP coming next year, expect BIG things, nohalf steppin'...

Disclosure returned in February with the brand new ‘Ecstasy’ EP where they rolled out a track a day over five days in the same vein to their last release, the ‘Moonlight’ EP (2018). Only this time, the ‘Ecstasy’ EP was in fact, a precursor to their third album ‘ENERGY’ – set for release on August 28th on Island Records.

Two years after he strikingly entered the world stage with Iron, a luminous track with a truly iconic video - Woodkid released The Golden Age, his first ever album, crafted and shaped in the utmost secrecy during the year 2012. While some might have just let the media hype do its work, Woodkid also known as Yoann Lemoine, chose to reverse the rules of the game. Following the release of a second single Run Boy Run, which became a classic in a matter of weeks - with the accompanying video nominated at the prestigious
Grammy Award in 2013, Woodkid decided to bring out his first album. A record with incredible ambition for this young Frenchman who America was already crazy about, picking up the momentum for his rise. The Golden Age is an epic quest, a beautiful and surprising adventure. The foundations of the Woodkid staple are of course all on display : percussions, string and brass arrangements, piano, programming and - of course - this powerful and sensitive voice that delicately runs through the melodies with great magnitude. A few months after its release The Golden Age was certified Platinum and
Woodkid went on to collect the Prize for “Best Live New Act” at the French Music Awards on February 14th 2014. As a multi-talented artist, Woodkid thought out his project with all aspects in mind. Initially working as a video director for the greatest (Lana Del Rey,
Drake and Rihanna), he then directs his own videos and starts creating the visuals and stage-design for his own live performances.
Since then, this gifted all-rounder has continued to explore multiple paths. In 2014 he works alongside contemporary artist JR on an original piece commissioned by the New York City Ballet (JR creating and Woodkid producing the music), takes the artistic reins of Pharrell Williams’ live shows and co-writes an original soundtrack with Hans Zimmer.

In 2015, Nils Frahm performs the soundtrack that Woodkid wrote for a
documentary on Ellis Island, directed by JR with commentaries from Robert De Niro.

The same year, cinematographer Jonas Cuaron (creator of gravity) asks him to write the music for his feature film “Desierto” a gruelling thriller set in the Mexican-American desert. Woodkid comes up with a radical and organic piece halfway between sound-design and film score, released in April 2016. He is to this day one of the most sought-after artists, a visionary and altruistic creator whose modern and powerful body of work continues to shape itself with every new encounter.

‘LiteAce Frequency’ is a collection of songs influenced by 70s Manila Sound and Pinoy soul, as well as incorporating elements of Japanese funk, Brazilian sounds and hip hop.

‘LiteAce Frequency’ follows Vex Ruffin’s ‘Emilio’ EP, released on Stones Throw in May.

The album will appeal to fans of Bullion, James Pants, Dam-Funk, Teebs, Daedelus, Paul White, Anika, Toro Y Moi, Ariel Pink.

Vex Ruffin’s music has featured on soundtracks for HBO’s hit series ‘Girls’ and Netflix’s ‘Russian Doll’. Vex Ruffin has a monthly radio show on NTS and will be supporting the release of his new album
with DJ sets, live streamed performances and active social media engagement.

Vex Ruffin has previously collaborated with artists including Anika, James Pants and Bruce Haack.

Brand new release on SARIN’s X-IMG imprint…

Matthew Dear has unveiled a new alias, Brain, which will debut with a double-EP called The World on Planet E. It’s the latest in a long line of trackier Matthew Dear aliases, including False, Jabberjaw and Audion, whose 2006 classic “Mouth To Mouth” came in at number 20 on Resident Advisor’s Top 100 Tracks Of The ’00s feature. The lead-off cut on the inaugural Brain release, “Boss,” was first heard on Carl Craig’s Detroit Love Vol. 2 compilation.

A Colourful Storm presents a new album by Beequeen, the duo of Frans de Waard (Kapotte Muziek) and Freek Kinkelaar (Brunnen). Over two long-form pieces, new material from 2020 and almost-discarded fragments dating back to 1988 are collaged to form a brand new composition. Think woodblock, guitar, static radio signals, ethereal ambience. An honourable addition to Beequeen's discography and a beautiful piece of the Dutch avantgarde with historic ties to Edward Ka-Spel, De Fabriek, Merzbow and Nurse With Wound. Mastered by Peter Johan Nyland with full-colour sleeve photography by Alfred Borland

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

Hoshina Anniversary returns to MUSAR Recordings under a new cloak, Shifting Gears.

Toyko's Hoshina Anniversary has risen to particular prominence in recent years with his self-titled brand of 'Watechno'. Stylistically fusing traditional Japanese instrumentation with Chicago and Detroit sensibilities, his works have found homes on ESP Institute, Young Marco's Safe Trip and Amsterdam-based MUSAR Recordings.

Landing on the latter, MUSAR, little over a year ago with 'Zangai' EP, Hoshina returns under a new cloak, Shifting Gears, to present 'Evil' EP.

Named after the 1975 'Gears' LP of jazz and hard bop organist, Johnny Hammond, the Shifting Gears moniker focuses heavily on principles of Jazz and raw musicianship, with a continued exploration of machine-reared club sounds. How the two can take shape as one.

Across 'Evil' EP, Hoshina's native culture remains, as heard on 'Miyatsukomaro', where traditional Japanese strings harmonise with crisp hats and jazz keys. Inspired by the early works of keyboardist and composer, Bob James, all is underpinned by intrinsic Chicago synth work.

A recurrent theme throughout, the Chicago vibe most notably takes hold on title track 'Evil'. An insidious
march, the floor-pummeling kick and shoulder-tickling toms marry seamlessly with dracula-esque chords and dizzying piano arrangements. Nodding to the mischievous bassist Jaco Pastorius of jazz fusion band, Weather Report.

Informed by the pacey creations of a revered duo, The Brecker Brothers and the 70's rock music that soundtracked Hoshina's youth, opener, 'Senor Senorita' wraps swathing reverb around a raucous melody and jiving percussion. Meanwhile, the seedy 'Syndicate' closes out amid eerie synth sneers and quirky, funk-flecked modulations.

La vita nuova - a prospect for a new life - draws strength from extreme vulnerability. Produced by Christine and the Queens and Ash Workman, the EP is out now on all digital platforms via Because Music, and available to pre-order on CD and vinyl editions. La vita nuova arrives with an accompanying short film of the same name, imagined by Christine and featuring the EP’s five new songs in as many sequences. The 14-minute film is an inward journey that sees the artist invest Opéra Garnier, the world-famous Paris opera house, filling it with stories of ghosts and mythical creatures. Through the lens of long-time collaborator Colin Solal Cardo (Robyn, Charli XCX) and with choreography by Ryan Heffington (VMA Award 2014, Grammy Award nominated), Christine and her dancers appear in succession on the Opéra rooftop, its grand stage and most secret recesses, culminating into a feverish moment with Caroline Polachek, a collaborator on the EP’s title track.

Albert Ayler’s 1969 album New Grass has been misunderstood from the day of its release. The album fi nds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.”

New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to infl uence generations of Jazz, R&B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic
Youth and Mark E. Smith.

Third Man Records can’t recommend this record highly enough. We are confi dent that it won’t take but one listen for you to understand New Grass is an undeniable healing force

Apollo Brown, one of the first members of the Mello Music Group production team, is the Detroit producer first grabbed the nations attention on Finale's Pipe Dream & a Promise album and then again as the Detroit Red Bull Big Tune Champion. The Reset is the first Apollo Brown-produced release in 2010 on MMG.

The Reset was an introduction to Apollo Brown's production: Reworked tracks, fresh verses, new production, new hooks, and new features, recombined to create an entirely new album that captures the haunting street soul of Detroit.

Producers: Apollo Brown
Featuring: Oddisee, Tranquil, Hassaan Mackey, Buff1, Magestik Legend, Diamond District, John Robinson, Kenn Starr, Rapper Big Pooh, Black Milk, Stik Figa
(Original Release May 25, 2010)

Legendary labels Decca Records and Blue Note have joined forces for Blue Note Re:imagined; a brand new collection of classic Blue Note tracks brought together for the first time, reworked and newly recorded by a selection of the jazz scene’s most exciting young talents today. Representing a bridge between the ground-breaking label’s past and future, the project will feature contributions from a rollcall of internationally acclaimed jazz, soul and R&B acts-Shabaka Hutchings, Ezra Collective, Nubya Garcia, Mr Jukes, Steam Down, Skinny Pelembe, Emma-Jean Thackray, Poppy Ajudha, Jordan Rakei, Fieh, Ishmael Ensemble, Blue Lab Beats, Melt Yourself Down, Yazmin Lacey, Alfa Mist, and Brit Award-winning Jorja Smith.

This is the next 7’’ singles installments with Steam Down’s version of Wayne Shorter’s Etcetera (ft. Afronaut Zu) and Yazmin Lacey’s version of Dodo Greene’s - I’ll Never Stop Loving You.

Strut present the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, covering 1975 to 1993. Formed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James "Plunky" Branch returning to the city from New York to form Oneness Of Juju. The band's 'African Rhythms' album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire hand-illustrated sleeves for the label's debut release.