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The classic album of Germany's funk champions reissued on surf blue colour vinyl.

Original press release note from 2011:

After almost twenty 45's under various pseudonyms, their thrilling and hugely successful debut album with London-based singer Gizelle Smith and a tour with concerts throughout Europe, Germany's most prolific deep funk formation is ready to step further into the spotlight with their second longplayer.

The aptly titled THE FUTURE IS HERE sees the group explore new territories with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that has long gained international reputation.

Producer legend Kenny Dope (Masters at Work, Bucketheads) picked up the Mighty Mocambos's re-interpretation of the Furious Five classic "The Message" (released under a pseudonym on an obscure phantasy label without proper distribution), remixed it and re-released it on his own imprint Kay Dee Records. This album includes the original version of the "Next Message" – a message that apparently got heard and answered.

Afrika Bambaataa (the Godfather of Hip-Hop) and Charlie Funk (aka Afrika Islam, Grammy- and Oscar-decorated producer of Ice-T and original member of the Zulu Nation) loved the Mocambo vibe and joined the group on stage and in the studio to record "Zulu Walk" and "Battle", two stunning tracks of organic Funk that take Hip-Hop "back to the roots where we started out" (as featured MC King Kamonzi rightfully says) and along the way, leads funk into the future.

Keeping up with the universal spirit and ignoring boundaries of language in favour of the global groove, the Mocambos recorded "Physique", a rousing dancefloor smash sung in French by Caroline Lacaze. "The Sun Shines Tonight" is a cheerful party-in-the-studio session with original German funk and disco queen Su Kramer (who played with Donna Summer in the original cast of "Hair" during the late 1960s) that documents the pure joy of playing and spontaneity of a Mocambo live situation.

The 12 titles on this album showcase the group's collective determination, unified versatility and creative wit. From the drum-heavy, afro-tinged "Calling The Shots", the anthemic "Struggle & Triumph", the romantic melancholy of "French Vanilla Skies", the somber and frantic "Transcendental Express", to songs with an almost cinematic quality like the moody "A Brighter Darkness" and the horroresque "Paranormals Theme", the album offers a broad spectrum of colours, all held together by the unity of a band that has been playing together for years - recorded live in a few takes with simple analog equipment to capture the energy, chemistry and blind faith between dedicated musicians.

The result, mixed and mastered by chief engineer Def Stef with a decidedly modern punch, is a far cry from nowadays vintage soul band replicas. It is a universal and timeless statement: with the knowledge of the past and present, right now, we look into the future - THE FUTURE IS HERE.

Disco divas, Funky queens and Glam ladies in 70's and early 80's Taiwan!

Due to it's extremely complex history, Taiwan in the 70´s saw the creation of some incredibly special music in which the sounds coming at the moment from the west collided with the special sensitivity of Taiwanese musicians, creating a delicious mixture you´ll need to hear to believe.

"Taiwan Disco" shines a light on the music created by Taiwanese women during those years (70´s & early 80´s) to present a mind-blowing collection of songs with sounds ranging from wild Funk to Space Glam, exotic Disco or fuzzed out Soul. Here´s the ticket to some crazy Taiwan nights, get those dancing shoes ready, it´s time to shake it!

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

Thembisa’s Hot Soul Singers were formed in 1975 by promoter and producer Sam “Jiza Jiza” Mthembu. In the early years the trio was called the Thembisa Happy Queens and consisted of sisters Ntombifuthi and Nombuso Mabaso and Lindiwe Ndlovu. The trio would start out playing Jive, Zulu Disco and other popular sounds of the 70s . In 1979 they became the Hot Soul Singers and would begin a career in the emerging Disco scene which their group name was now more fitting for.

Their first single under the new name was a tribute to their producer Sam, and their first album “Together” would come 2 years later in 1981. It contained their Lamont Dozier rip off from a year earlier, and biggest hit to date “ Give Me My Love Back” which was playing in jukeboxes across the country. At this time the Hot Soul Singers were also gaining popularity due to their demand as an opening act for American groups. Sam’s ongoing pursuit to be a successful promoter also helped to ensure they were always in the headlines and playing shows. It would be in 1983 that the group would temporarily step away from a major label and go onto record their first Maxi single with the independent Raintree Records new Lyncell Imprint.

Like most places in the world the early 80s was a fast changing time in music for South Africa. Although the Maxi had a disco standard for years in other parts of the world it had only recently been popularized in South Africa. Thanks to the Brenda and the Big Dudes smash, Weekend Special, the maxi took over as the preferred format for pop music, replacing the cheaper but time restricting 7” single. Singles were being pushed to the limits in the early 80’s with running times of 4+ minutes a sides by some labels. The Maxi allowed for groups to extend their grooves onto a full side and later album art containing smiling musicians infant of cheesy backdrops became the norm. Synthesizers had been used in pop music for years already but the DX7 wouldn’t land in the country for another year. Drum machines were being used but had yet to fully replace live drummers like would happen in the years to come. The recording of this new single would require a full band resulting in it being one of the gems of the crossover period before the complete midi takeover. Durban’s Graham Handley was recording some of the best upcoming Disco sounds for labels like Heads Music and groups like Kabasa and Masike Mohapi and was tasked as engineer. Other known musicians in the session would be Jimmy Mgwandi from the group Image, who’s signature bass playing can be heard on both songs. A young Daniel Phakoe aka “sox” was also present and took care of the male parts of the vocal line. Both musicians have writing credits along with lead singer Nombuso. Other possibilities of musicians would be Thami Mduli aka Professor Rhythm who had been with the group since their early days as well as a young Chicco who was best friends with Jimmy at the time.

The single, which was packaged in a customized but simple company disco sleeve, went on to do quite well. Less than a year later they would feature on a track with Sunset which would lead to them singing with Sounds of Soweto records label. The group would enjoy the growing fame when tragedy struck in 1984. On their way to a show in Mpumalanga they were involved in a car accident which took the life of Nombuso and left her husband Sam with a leg injury he limps with to this day. Upon recovering Sam would organize a tribute concert at Soweto’s Jabulani Amphitheatre. Even though the tragedy left the group broken and without a member the band went back to work to record their second full length album. They worked with Mac Mathunjwa who had written Nombuso’s favourite song “Going Crazy”. This album would be released with two different names and covers. One took the former singer’s favourite song as the album name and used a photo consisting of all three girls where the other released under the name “ A Tribute” and would only have the remaining members on the cover.

Although the tragedy never halted the group, moving forward the trio of singers would see a few members change. Lindiwe would leave to join Freeway and then become Linda “Babe” Majika so by the time they were ready to record in1986, now with Teal records, the only original member was Ntombifuthi. She would also shortly leave the group and provide backing vocals to other artists including her old band mate Linda. The Hot Soul Singers would be kept alive by Jiza Jiza and go on to record 5 more albums before calling it quits in 1990 after a successful 15 year career. Today the only core member left is Sam Mthembu who still lives in Thembisa and is occasionally promoting live events. Even though he did produce a handful of artists back in the 70s, his most significant additions to the music industry were the Hot Soul Singers and his event promotions, which is what he is best known for and will most likely be the legacy of his career.

Sergio Mendoza (a longtime member of Calexico) grew up on both sides of the US/Mexican frontier. On the band’s 3rd album, “Curandero,” His musical melding of that experience explodes from the speakers. Boogaloo, cumbia, ranchera & rock’n’roll.

The second collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2009, on Under The Covers Vol. 2 the duo cover 26 of their favourite tracks from the 1970s. For this edition in the series, Sweet and Hoffs invited guests into the studio including Lindsey Buckingham on ‘Second Hand News’, Dhani Harrison on a cover of his father’s ‘Beware Of Darkness and Steve Howe reprising his guitar parts on a version of the Yes track ‘I’ve Seen All Good People’ Pressed on two heavyweight 180g green vinyl.

To coincide with the announcement, the pair have shared a video for the album’s title track directed by Sam Davis and Tom Andrew, who has previously received two UK Music Video Awards nominations for his work with Avery. Speaking about the video, Andrew explains, “We were keen to capture a visual representation of the tempo and atmospheric emotion of the track and make a video exploring the notion of collaboration. A super-motion approach allowed us to explore details of motion shared between two people, in tactile actions of aiding and supporting.” Cortini adds, “The video embodies the volatility and hidden nature of the music’s subject and meaning. A meaning that is ultimately personal and unique the listener/spectator.” Watch the clip .



Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation. The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival and Mount Analog in Los Angeles, and Phonica Records in London. Both tracks are included on the album.



“It was very much a shared process”, notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”



“I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”



The collaborative album follows Avery’s second record Song For Alpha, released in early 2018, and last year’s expanded edition B-sides & Remixes. Mixmag called the sophomore LP “A beautiful maturation of Avery’s work as a producer,” while The Guardian hailed its “Majestic, cavernous techno” and Loud & Quiet praised Avery as “A producer fast approaching the peak of his powers,” “This album cements Daniel Avery as one of the best,” wrote DIY. The London-based producer will perform at BBC Radio 3’s Unclassified Live on April 3rd, a new series of concerts in the Southbank Centre's Queen Elizabeth Hall presented by Unclassified host and presenter Elizabeth Alker and conducted by André de Ridder – tickets are available here. Avery has also just been announced in the first wave of acts for London festivals Re-Textured and the inaugural Wide Awake, taking place in April and June respectively.



Cortini released his most recent solo album Volume Massimo on Mute in July 2019, following Fine, the Italian artist’s final album under his SONOIO alias, which came out the previous year. The Quietus called the former “an album that showcases just how much Cortini‘s aesthetic has developed since his early days,” while Exclaim! hailed it “a melodic exploration of textures and layers … an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer.”

We were first introduced to Marumo’s ‘Modish’ album via DJ Okapi's amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.
‘Modish’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.
Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.
We included the afro-disco-funk beauty of 'Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modish’ needed to be available and heard in it’s entirety. We hope you enjoy!

Legendary genre-bending, multiple Grammy and Emmy-winning artist and producer 'Robert Glasper' releases his newest project "Fuck Yo Feelings". It's the result of a 2-day session in which Glasper invited musician friends to stop by the studio and organically create together, the final result being this mixtape which sonically documents the lost art of improv and on the spot collaborations that can only come from authentic relationships and true artistry.

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980. AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves. ‘Soul Searching’ is the 4th album by AWB, originally released in 1976. The album reached #9 in the USA. ‘Soul Searching’ also includes the much-sampled classics ‘A Love Of Your Own’ and ‘Queen Of My Soul’, with the latter reaching #40 in the USA.
It was produced by Atlantic’s legendary producer, Arif Mardin.

Following up his latest "Jazzy Edition" Mr Al Kent now delivers the "Disco Edition". We begin with a +11 min long mid tempo jam that will please any fans of Patrick Adams. On the flip we go more up-tempo with a power disco cut that clocks in over 12 min. Lots of things happening with many twists and turns on this one... epic stuff!
Another G.A.M.M sureshot !!

Harrison Kennedy was raised in Ontario, Canada before moving to Detroit and enjoying success as the lead singer of Chairmen of the Board with the classic ‘I’m The Chairmen Of The Board’, . He left the group in the 1970s to start on a solo career. Hypnotic Music’ is Kennedy’s 1972 debut album released on Invictus Records. It’s an in- demand folk funk album. Kennedy is still celebrated as a singer, songwriter and performer. He was awarded in 2016 at the Canadian Juno Awards with the Blues Album of the Year. This classic is reissued on 180g heavyweight black vinyl with original artwork and printed inner sleeve. Album features rock orientated songs like the Beatles cover, social commentary with 'You Hurt Your Mother Again’ and psychedelic sounds like ‘Night Comes Day Goes’ – showcasing Harrison’s musical talents.

"Art Is A Cat" is The Dining Rooms' eighth studio album - thirteenth if we also consider five remix and rework records - in over twenty years of career. It comes out five years after the fully instrumental "Do Hipsters Love Sun (Ra)?", and shows itself as a new milestone in the artistic path of the Milanese duo formed by Stefano Ghittoni and Cesare Malfatti.

In fact, "Art Is A Cat" hosts every facet of The Dining Rooms' music, mostly nourishing the intuitions delivered in past albums such as "Experiments in Ambient Soul" (2005) and "Ink" (2007). It preserves all the characteristics of their typical signature: songs balanced between folk and soul, dub expansions, instrumental hip hop and cinematic atmospheres. Not to renounce to any of these aspects and given the high quality of the recorded material, Stefano and Cesare decided not to sacrifice anything, and wrote and produced a 19-song full-length for a total duration of about sixty minutes.

"Art Is A Cat" also hosts a large group of guest singers, both historical voices of the band and absolute novelties, who also co-wrote the lyrics; the vocal parts are interspersed with the group's instrumental classics, from funk-fueled visionary downtempos to more experimental micro-songs. Sean Martin and Georgeanne Kalweit therefore return with two songs each (one of the two sung by Georgeanne has its lyrics written by Jake Reid, a London-based singer who already collaborated with The Dining Rooms in "Lonesome Traveler" in 2011).

Among the new entries we have, first of all, the Italian-Tunisian Rahma Hafsi on the sensual ballad "Little Girl" sung both in English and Arabic, while the very young Italian-Salvadoran Beatrice Velasco Moreno sings, together with Sean on backing vocals, the spoken-word "Teach Me To Dance", the spiritual "Sweet Love" and the title-track, an orchestral folk moment among the most inspired ones in the entire band's history; Lola Kola, queen of Tropicantesimo, also brings an absolute novelty in the world of The Dining Rooms, presenting for the first time an Italian-sung piece: "Nella Sua Loca Realtà", a post-melodic song dedicated to the fragility of love.

The vocal parts series ends with two episodes in which Stefano resumes his past as a singer (in the '80s with Peter Sellers & The Hollywood Party) with the Indian-flavoured "Ohm And Raga" and the existentialist ballad "She Says I'm Bad".

"Art Is A Cat" is therefore a complete and very fascinating album, destined to excite and leave its mark.

A heady mix of digi killers, digital roots, dub, electro, and unlikely vocoder magic, Love Lives Forever is the first ever compilation of Miami reggae-notreggae diva Dhaima. The record gathers a collection of the original Natty Queen’s seminal ’80s and ’90s recordings, including her big 1982 chune “Reggae On Sunset,” the Ninakupenda-issued “Don’t Feel No Way,” the previously unreleased “Loving You Is My Thing,” and “Surrender”—the last song recorded before her untimely death in 2000. Pressed loud on vinyl in a long-playing format to mash up your home speakerbox.

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 4 is: Lean Back Remix (Inst) B/W Sunny Dedications (Inst). Unreleased instrumental version of “Lean Back” remix, taken from “Put A Beat To Rhime”, 2004. Unreleased Instrumental version of “Sunny Dedications”, taken from “It’s All Happening Now”, 2002. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. “Sunny Dedications” featured in instrumental form for the first time ever; is a classic beat taken from Parker’s seminal “It’s All Happening Now” album released in 2002 on Massive Attack’s Virgin imprint, Melankolic. The lush strings and hard drums still strike a chord over 15 years later. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 1 is: Incognito (original) B/W Instrumental Original and unreleased version of “Incognito” taken from “It’s All Happening Now”, 2002. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward,KingUnderground brings a rare snapshot of the veteran producer’s cuttingroom floor.

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 2 is: Fakin’ Jax Remix (Inst) B/W Shaky Dog (Inst) 2 Unreleased instrumentals of “Fakin’ Jax” remix, taken from “Put A Beat To Rhime”, and “Shaky Dog“ Instrumental from Ghostface Killah’s “Fishscale” album. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set.

The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK.

After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer.Record No. 3 is: Nothing But Aces ft. Ace Lover B/W Instrumental, an unreleased song recording from 2002. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 5 is: Hold it Down ft. Dynas B/W Instrumental, an unreleased song, recorded in 2004. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

Repress

Be With Records present the hugely anticipated first ever vinyl release of r'n'b star Cassie's seductive debut. A late-night classic of chilly electro-soul, the self-titled album has influenced many in the dance music fraternity since its original CD-only appearance back in 2006. Particularly revered by Jamie xx, Four Tet, Hot Chip and Tri Angle Records, the r'n'b cognoscenti went into overdrive when rumours of this release first leaked.

Perhaps most famously, it features the slick summer smash "Me&U" which reached No.6 in the UK charts and topped the US equivalent. Yet the remaining 10 tracks serve to create a "minimalist r'n'b" masterpiece; the intricate and space-filled arrangements are laced with sinister synth bleeps that wouldn't have been out of place on an early 90s Warp record. The dark, hypnotic high ends coupled with Cassie's ice-queen delivery made this stand out from the tired crowd of mainstream r'n'b at the time. It still sounds wholly and eerily unique.

Like all Be With releases, this record is officially licensed and has been cut by Frank Arkwright at the legendary Abbey Road Studios. Pressed on audiophile 180gram vinyl - befitting the heaviness of the music contained within - it also features the original artwork set elegantly within its 12"x12" borders.

D. Carbone is back on its homonymous imprint with a Theme Ep 'Back To The Empire Of Hardcore'. After the 2016 Ravers EP, here the artist make a second call to push a movement is coming back on all its power but in a modern key. The EP figure 2 remixes One from the Queen of Techno 'VTSS' and one other from the Hardcore master '14Anger'.

On The A1 the entitled track is a new hardcore wave gem, a robotic voice singing in a subdol way back to empire of Hardcore, lead and sirens create the atmospheres over a marching beat. This track aims to be a classic for the New Hardcore wave.

A2 presents VTSS remix. The queen of Techno after it's debut on REPITCH Recordings with the killer Identity Process EP and the amazing Atlantyda on Monnom Black is ready to show a Techno/EBM remix with its remark bassline, a strong kick and massive voice textures, make it an instant classic!

B1 is the time of French Raver '14Anger' its remix is a mesmerizing of Power and its Hardcore roots are shaped at its best. Percussive synth sequence chosen as the main groove, Melodic bassline is the main focus here till the amazing lead comes in to destroy every dance floor!

To Close, The Vinyl is 'Raver Killer' a powerful doom Techno track. This track is not for the fainted hearts, inspired to the 90's doom rave with modern touch Powerful kick, distorted model D's bassline, hi-pitched voices, and resonant percussions make it a big room track that can't miss in your bag and perfect choice to close this vinyl.

As Digital Bonus ' The Rhythm of Acidcore' is an Hypnotic Acid Banger. Model D bass and 303 acid sequence are the main focus here, accompanied by a smashing beat is the perfect track to stand along this collector EP.

One of the original catalysts of Latinx music in New York City, MAKU Soundsystem has been the connective tissue for several creative projects, bands and community roots for over a decade. As a group with a rotating membership, they've recorded multiple albums both DIY and for worldwide labels. Throughout their various iterations, the heart and mission of the ensemble has consistently built bridges, rather than tearing them down, remaining a remarkable beacon of positivity in a consistently competitive environment. The inspiring atmosphere has nurtured several notable musicians and acts over the years, including members of Combo Chimbita, Dilemastronauta, Bulla en el Barrio, Leon Brothers and Prince of Queens. Now down to a core group of three musicians, alongside percussionist Moris Cañate, MAKU and Names You Can Trust have finally teamed up for a vinyl edition after many years of collaborative shows and connections.

Perhaps their rawest and darkest recordings to date, this stripped down quartet is an ode to the creative source of their core members, lead singer & bassist Juan Ospina, drummer Andres Jimenez and guitarist Camilo Rodriguez. The A-side, "Culebra Coral" is a snakebitten taste ofla cumbia, played with an experience and restraint that only enhances the end result. It's a free driven approach born from familiar experimentation, rather than modern day trends — a singular jam, refined from years of playing together. Part psych, part cumbia, total MAKU. The B-side, "Contra Tambor," is emblematic of the group's roots in the traditional sounds of thetambora, a drum-forward percussive arrangement that follows Jimenez and Cañate on a free-driven approach to the ritualistic movements of the drums, this time drowned with an antidote of analog FX, synthesized glitches and atmospheric coros.

The teen girl falling in love with greasy biker melodrama that set The Shangri-Las on the scene was beaten to the core when English high society child Lynn Ripley -better known as Twinkle- took it to the next level on her own composition "Terry". Penned at the tender age of sixteen, Twinkle's lyrics were found so twisted and bad tasty that the song got the honour of being banned at the BBC thirteen years before the Sex Pistols ran the same luck with "God Save The Queen." A ban that, as you would have guessed, instead of hiding the song from the era's teenage record hunters made it even more coveted. Thus "Terry", Twinkle's first 45 issued on Decca in October 1964, became an instant top 5 hit in the UK and was released successfully worldwide as well as covered by many bands (like Claude François French version or Los Extraños cover sung in Spanish).



The success of "Terry" encouraged Decca to release other comositions by Twinkle, along with her recordings of songs by other songwriters, in 6 singles and one EP published between 1964 and 1966. Another of Twinkle great tunes, "Golden Lights", was covered by big Twinkle fan Morrissey and The Smiths in their 1986 "Ask" 12" EP.



The 14 songs from the Decca 45s are collected in this fatastic LP, housed in an amazing period style sleeve w/backflaps and including a gatefold insert with photos and first hand told liner notes by Twinkle's own sister Dawn James, a music journalist working for New Musical Express back in the 1960s.



It comes in a limited edition of only 500 copies : if you like sixties girl-pop sounds like those of The Shangri-Las, pop stars like France Gall, singer-songwriters like Margo Guryan and Phil Spector-ish productions you must get your copy of Twinkle's "Golden Lights" before it sells-out!

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

The Galleria is a project from Morgan Geist (Storm Queen, Metro Area) that ripples with echoes of the indigenous music of long-dead suburban New Jersey shopping malls and NYC radio stations: bombastic freestyle, club dubs, razor-edits and bubblegum-pop R&B. The newest single, Stop & Go, is the second release since the 2015 debut, Calling Card/Mezzanine. Vocals are once again provided by Jessy Lanza, whose two solo albums on Hyperdub were met with critical acclaim and were both shortlisted for the Polaris Prize. Stop & Go features a drum-a-pella for creative mixing, plus an extended, dancefloor-friendly dub.

(180 Vinyl LP) With their authentic formula - jazz musicians in a Jamaican-wise context - Jamaican Jazz Orchestra come with a second album that feels like a fresh dive in the lake on a humid tropical day. High quality musicianship and clever compositions recorded analog on tape, guided by producer Tom Callens (Lady Linn, Lester's Blues, South of the Border, Tiny Legs Tim)...

Selenicereus grandiflorus is native to the Greater Antilles, specifically the islands of Jamaica, Cuba, and Haiti. It can also be found growing among trees and rocks in countries across Central and South America, including Mexico, Honduras, and Nicaragua. Colloquially known as the “Queen of the Night”, Selenicereus grandiflorus produces majestic, nocturnally blooming flowers that open once a year before withering. When in annual bloom the flowers reach up to a foot in diameter and emit a fragrant vanilla aroma.

The flowers are supported by a tangled mass of spiny stems that grow thicker and stronger with each annual flowering, and are sometimes harvested for use in homeopathic remedies to improve heart health. Due to the uniquely transient beauty of this cactus, Selenicereus grandiflorus is considered a rewarding addition to any collection. Our botanists strive to source and produce high-quality specimens to enrich your mind as well as your ears. After many months in the field our team has returned with a diverse selection of sonic seedlings. Following a series of meticulous experiments in our research facility each seedling has been deemed safe for general propagation and cleared for release.

LIMITED EDITION 500 ONLY COLOURED VINYL LP WITH DOWNLOAD CODE IN GLOSS FINISHED 350GSM BOARD SLEEVE

Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.
 
What we said back then ...
 
‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.
 
The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.
 
They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!

Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..
Here though we see the focus on the core family as well as some new additions, celebrating the artists involved over the past five years and looking towards the future with some fresh, hotly tipped acts.

For the fourth installment in the series the label welcome’s Berlin’s queen of House Cinthie onto its roster with ‘6am’, as the name would suggest a heads down, emotive slice of House aimed at those special moments in the early hours of the dance floor, fusing a robust analogue drum workout with bright strings, jazzy piano lines and driving low-end.

Akiko Kiyama’s ‘Dirt Specks’ follows, a typically unique offering from the Tokyo based experimentalist, built around swirling bass notes, hypnotising processed vocals and glitched out percussion before label co-founder Red Pig Flower’s ‘Mental Adventure’ brings eastern-tinged plucked strings and vacillating atmospherics into the limelight alongside rounded subs and a bumpy rhythmic drive to create a smooth, hypnotic trip.

2 track vinyl compilation featuring the roots of modern dance music, on 180g heavyweight double LP. P&P was producer and Harlem hustler Peter Brown’s production company. He created some of the greatest moments in underground African American dance music, across a handful of labels in the 70s and 80s.

Due to his independent ethos his releases on imprints such as Heavenly Star, Sound Of New York, La Shawn, P&P and others would often disappear after a single low numbered pressing making them incredible hard to find on original pressing.

Tracks such as Mary Clarke’s ‘Take Me I’m Yours’, and the Fosters Jackson Group’s ‘Feel The Spirit’ have been championed by DJs such as Floating Points and Dimitri from Paris. Whilst the sheer rarity of some singles such as Clyde Alexander and Sanction’s ‘Got To Get Your Love’ and Louise Murray’s ‘Let’s Just Stay Away’ would set you back multiple hundreds of pounds to buy on original copies.

There Existed An Addiction To Blood" ist das insgesamt vierte Album von Clipping und ihr drittes für Sub Pop. Es ist der Nachfolger des von Kritikern und Publikum gleichermaßen gefeiertes Album ,Splendor And Misery" aus dem Jahr 2016. ,There Existed An Addiction To Blood" enthält die Singles ,Nothing Is Safe", ,Blood Of The Fang" und ,La Mala Ordina" (Feat. Benny The Butcher, Elcamino, The Rita), die von Clipping produziert, von Steve Kaplan gemischt und von Dave Cooley bei Elysium Masters in Los Angeles gemastert wurden. Das Album enthält auch Gastbeiträge von Ed Balloon, La Chat, Counterfeit Madison und Pedestrian Deposit. ,There Existed An Addiction To Blood" ist Clippings Interpretation eines neuen Rap-Splitter-Genres unter Zuhilfenahme ihrer einzigartigen Lupe. Clipping wenden sich auf dem neuen Werk intensiv dem Horrorcore zu, eines bewusst absurden und kreativ bedeutsamen Subgenres, das Mitte der 90er Jahre blühte. Einige der bemerkenswertesten Pioniere hießen Brotha Lynch Hung und Gravediggaz, aber es umfasst auch bahnbrechende Werke der Geto Boys, Bone Thugs-N-Harmony und die nahezu vollständigen Veröffentlichungen des klassischen ,Memphis cassette tape rap". Der wahrscheinlich subversivste und experimentellste Rap hat sich oft als ,Alternative" zu konventionellen Sounds präsentiert, aber Clipping verzerren das Ganze respektvoll in neue Konstellationen. ,There Existed An Addiction To Blood" absorbiert die hyper-gewaltigen Horror-Symboliken der Murder Dog-Ära, stellt sie aber in einem neuen Licht dar: immer noch dunkel getönt und düster, aber in einem seltsameren und lebendigeren Farbton. Wenn der traditionelle Horrorcore mit ,Blacula", dem populären Blaxploitationsfilm-Klassiker aus den frühen 70er Jahren, verwandt war, so ist das neue Output von Clipping analog zu ,Ganja & Hess", dem blutrünstigen Kultklassiker von 1973, der als unbesungenes Wahrzeichen des schwarzen Independent-Kinos gilt, dessen Score von Sam Waymon, Clipping als Inspiration zum Titel des Albums diente und auch Samples auf dem Track ,Blood Of The Fang" lieferte.ENG The science-fiction visionary Octavia Butler once declared that "there is nothing new under the sun, but there are new suns." The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping's transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an "alternative" to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang's Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with "Piano Burning," a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band's career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018's critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping's last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork's Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single "The Deep" became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards - a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It's horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

The DJs Pareja have been flagging they’re a DJ duo in love long before the recent trend. ‘Pareja’ literally translates as ‘couple’, and that is just how Diego and Mariano do life; in tandem. It may not seem so radical these days, but the Pareja’s have been unapologetically queer trailblazers in their hometown of Buenos Aires, Argentina - throwing raves and putting out pop dance records for decades. It took us years to get these boys to come play for us in San Francisco, but when they finally did, minutes off the plane we were hugging and shedding a little tear in front of the Castro theatre sign. I always knew that one day we would get them on the label, and this EP is a product of how far this new gay techno underground has come. So it is with great pleasure we present 4 tracks produced south of the Equator, mixed for the gods, with some signature vocals and some sounds we’ve never heard from these Argy boys sleeping in a Queen bed.

Finally Vol.6 is ready - this time the good people at Hands Off picked up tracks from Desos, Space Age and Common Mode - Deep all the way.

SLEEPERS POETS SCIENTISTS is the compilation of 9 female Georgian artists. It showcases works by Natalie Beridze's students at the CES (Creative Education Studio), where Beridze teaches song-writing and music production. Natalie Beridze is an international well-established artist with releases on Max Ernst, Laboratory Instinct, and Monika Enterprise, through live performances, theatre and movie soundtrack works, as a member of artists collective Goslab, and collaborations with Ryuichi Sakamoto, Thomas Brinkmann, Gudrun Gut, Nikakoi – to name but a few. "This compilation is the backbone of what I try to persuade as a lecturer and as a person, who endlessly loves the music-making process. "Sleepers, Poets, Scientists " is the embodiment of intelligent, benevolent, dedicated, talented and beautiful women, who I believe have a bright future as female composers in Georgia and this album is a significant step towards it."

The retro cover is a nod to the famous group shot from the 1927 Solvay conference, which brought together physicists like Albert Einstein, Erwin Schrödinger, Marie Curie, and others. With this in mind, the name Sleepers, Poets, Scientists rings like a call to action for today's brightest minds, to wake up and save our chaotic, troubled world.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

Light of the Fearless, Hybrid's fifth artist album, brings together UK-based, Mike and Charlotte's passion for combining emotionally powered cinematic pieces with astute, intricate and intelligent electronic production. This long-awaited work is firmly based on the foundation of the principles and standards set by previous albums but here there's a clear development and evolution. Never wanting to write the same album twice, Mike and Charlotte have taken another step forward and have created a cinematic, electronic album with songs that stylistically borrow from their childhood soundtracks of soul, funk & hip-hop.

With songs have been inspired by not only events in their own lives but also by movements such as the Heads Together campaign, March for Our Lives 2018 and the Women's March of 2017. The album provides a positive and confident stance on moving forward through adversity and regaining empowerment. This is "The Light Of The Fearless". This inspiration certainly hasn't led to an album encumbered by political statements, but instead gives all the summery buoyancy you'd want to hear at your next festival.

Since their last album in 2010 the band have not only expanded their ever growing body of film score work (Fast and Furious 8, Interlude In Prague, Hercules, Dead in Tombstone, Take Down, Luther, X-men, Deja Vu ) but also saw the departure of band member, Chris Healings in 2015. The cinematic ethos is deep throughout the album with The City of Prague Philharmonic Orchestra performing on eight tracks. Unsurprisingly, the album as a whole works almost as a kind of score, and it's intriguing to be guided through the plot from the outset in the album's first track "We Are Fearless" through to the final track on the album. The expansive and unique cover of Tom Petty's "I Won't Back Down". Hybrid certainly haven't lost their flair for combining cinematic soundscapes, electronics and breakbeats.