Search:the revolution

DSOTSV02 coming in hot with four underground bangers. One-to-watch N-Gynn brings the second vinyl release with his moody ‘Dark Side Of Time’ E.P., containing three slapping originals. The remix by Yamen & EDA wraps up the record with a solid house cut.

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).

"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.

Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).

Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

The Order: 1886 is an epic game score for the 2015 third-person action-adventure Playstation video game The Order: 1886, created by the gaming studio Ready At Dawn. The game takes place in a painstakingly recreated Victorian-Era London, but features new advances in technology brought about by an accelerated Industrial Revolution and the centuries-old conflict between Human and Half-breeds.

The music was created by BAFTA Award-winning composer Jason Graves, who received the BAFTA Award for Best Original Score for his work for the 2008 video game Dead Space. Graves is renowned worldwide for his cinematic and immerse music. His musical background as a classically trained composer, jazz drummer, guitarist, and world percussionist, allows him to compose for a wide variety of genres.

The Order: 1886 is available as a limited edition of 500 individually numbered copies on smoke coloured vinyl, housed in a gatefold sleeve and includes a 4-page booklet with liner notes.

First repress since its original release in May 1998

Celebrating twenty-five years since its release as rgirl2 – the label’s first LP – Rocket Girl is reissuing its seminal compilation A Tribute to Spacemen 3 on double vinyl with spot varnish sleeve in May 2023.

Widely acclaimed at the time of its release (garnering rave reviews in the UK, US, Canadian and European music weeklies and monthlies), the collection sounds as fresh and inventive as it did three decades ago. Launched at a time when tribute albums were prevalent, A Tribute to Spacemen 3 stands apart from other covers albums in that it not only redecorates S3’s songs in a bold new palette of colours, but also acts as a time capsule documenting a very specific wave of 90s US and UK bands that shared many sensibilities – ‘post-rock’ might be the catch-all genre, but their music also encompassed psych, slowcore, analogue electronica, dream pop and space rock to varying degrees – and many of whom (Mogwai, Low, Arab Strap, Bardo Pond) have gone on to reap major critical and commercial success, and are still thriving today. In 1998 the LP was a gateway for fans of Spacemen 3 to discover these relatively unknown experimental artists operating on small independent labels either side of the Atlantic – today it is a celebration of the timeless innovation and longevity of that scene.

As author Richard Milward states in Rocket Girl 20, the 2019 book illuminating the history of the label: ‘In no way is the LP a collection of imitators simply regurgitating Spacemen 3’s songs sound-for-sound – rather, the compilation celebrates the purity and bravery of Pierce’s and Kember’s song writing (themselves never averse to a transformative cover version) while showcasing the originality and diversity of those bands they have inspired.’ It is the simultaneous simplicity and otherworldliness of S3’s songs that make them perfect fodder for reinterpretation, the band’s ‘three chords good, two chords better, one chord best’ mantra providing a solid, tantalising foundation for these bands to experiment with freely. Throbbing and humming with equal parts euphoria and melancholia, over the course of the album’s 69 minutes the tracks slide from slithering stoner psych (Asteroid #4’s ‘Losing Touch With My Mind’) to hymnal delicacy (Amp’s ‘So Hot (Wash Away All of My Tears)’ and Mogwai’s crisp, glockenspiel-chiming ‘Honey’) to zero-gravity lounge jazz (Transient Waves’ closer, ‘Billy Whizz’). There are radical reworkings: the oozing fuzztone lava of Bardo Pond’s ‘Call the Doctor’, and not least Arab Strap’s startling take on S3 live mainstay ‘Revolution’, replete with aggressive, crunching drum machine and the lyrics delivered down the telephone in Aidan Moffatt’s laconic Falkirk drawl – ‘a change, a solution, a wee… a wee revolution’ – before its explosive climax.

Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."

Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.

The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.

The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.

This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.

The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”

With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.

The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.

Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.

This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty.

"The Last Man On Earth" ist das neue Soloalbum von Lee Small. Wegen seiner melodischen, souligen Stimme wird er oft mit Künstlern wie Glenn Hughes, Bobby Kimball und Steve Walsh verglichen. Er hat sich weltweit als Künstler etabliert und war als Sänger auf mehr als 40 Aufnahmen zu hören, darunter Tom Galley's Phenomena Projekt, Shy, Signal Red, Ten und viele andere.

High Roller Records, reissue 2023, black vinyl, ltd 200, 2 inserts, poster, mastered for Vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, magenta vinyl, ltd 200, 2 inserts, poster, mastered for Vinyl by Patrick W. Engel at Temple of Disharmony

Smith was involved in the music business from an early age; at the age of 8, he was a deejay for the local sound Observer. Like many other great reggae musicians, Smith learned his musical skills from a combination of sound system culture and schoolwork. At age 15 he sang in school with Nadine Sutherland, who urged him to move to Kingston to pursue a singing career. It took five years for Smith to follow this advice as he had difficulty leaving his mother, with whom he had a very close and loving relationship.
Arriving in Kingston at the age of 20, Smith was thrown into the digital revolution of reggae music. His first track, "Indian Lady," was released on George Phang's Powerhouse label, Final Mission LP on the extremely popular version the old Heavenless riddim recorded by Sly & Robbie (the riddim from Half Pint's Greetings). Though it didn't become a major hit, producers discovered Smith's unique and convincing singjay talent. During the next five years (from 1985-1990) Smith put out a long line of tunes. His biggest hit was the 1988 tune "Dangerous," released on the progressive Redman label. A cheering audience watched him perform the song live at Sting '88. This song was even adopted by a British boxer called Nigel 'The Dark Destroyer' Benn and used as his entrance music, a tune that sounded out his intentions in any forthcoming fight.

• A globe spanning (France, Italy, Germany, USA, Belarus, Sweden, Russia, Australia, Canada) covers album of the late great Marc Bolan songs starting with the earliest cover in 1965 • Covering a huge range of genres and styles • A response to the U.S Hit album Angel Headed Hipster which opened up the songs of Bolan to a new American audience by using big names and TV advertising…this concentrates on quality recordings by lesser known artists • Presented in deluxe gatefold sleeve. • Reviews in Record Collector, Vive le rock R2, Shindig, Classic Rock.

The double vinyl containing the OST of music inspired by the docu-film "I RAGAZZI DEL COLUMBUS", these tracks just want to
tell the true story of an unrepeatable Era, of clubs, DJs and the generation that gave birth to the socio-cultural revolution which, starting in Italy between 1974 and 1985, it then spread throughout Europe, all with a passion for afro / disco /
funky music, which from the "Columbus" square in Riccione then spread everywhere. Thanks to djs and clubs

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Caribbean RARE GROOVE Discover the multi-cultural musics from around the Caribbean Islands. From Haïti to the Bahamas, passing by the French West Indies, this journey explores traditional rythms from Soca, Calypso or Biguine. Musicians as Gordon Henderson, Max Cilla or the band Skah Shah knew how to use Soul, Funk and Disco influences to create a unique groove with multiple faces.

For twenty years, Dynarec has been pushing the boundaries of electro on some of the best known labels. Little will his listeners know, there is another side to this prolific French producer’s machines. Speakwave is a lesser known, and heard, moniker of this analogue artist and the debut vinyl release of this nom de plume is set for release on Bordello A Parigi.

Fans of the Dynarec sound are treated to the same wonderous compositions and melodic structures with something else added.

“Cartographic Venture” is a ten minute introduction to this new style. Crisp drum patterns support cold flourishes and stabbing synthlines before distant vocals arrive. The track balances the frostier edges of electronics and wave to create a lonesome and longing synth pop ballad. “Coming On Monday” has a different energy. The pop element of the predecessor remains, lyrics are vocoder dipped while confident key shifts are countered by strong rhythm patterns. The closer, like the 12”, defies definition. Burbling notes and sharp snares give an edge to

“Exposition to Revolution”, but there is also a more inviting nurturing side coming through in the spiralling skyward melody. A release that shows another fascinating side of this multifaceted musician.

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

New album by Los Angeles MC Kid Abstrakt produced by Leo Low
Pass from Amsterdam inspired by the golden era greats like A Tribe
Called Quest, De La Soul or The Pharcyde!
Now here's a funky introduction of how nice Kid Abstrakt is!
The young MC from Los Angeles, CA represents the jazzy 90s rap sound like no one else in 2023. Not only on the Westcoast but internationally. Kid Abstrakt is keeping the legacy of A Tribe Called Quest, De La Soul & The Pharcyde alive and relevant by using it as a source of inspiration to tell his own story.

Kid Abstrakt started out as part of local trio Revolutionary Rhythm before releasing his first album “Daydreaming” in 2017, produced by The Deli from Austin, Texas. With a growing fanbase overseas Kid Abstrakt started working with producers and bands like Cap Kendricks (Germany), Emapea (Poland) and Jazzbois (Hungary).

“Still Dreaming” - his new album for Melting Pot Music - is entirely
produced by Leo Low Pass from Amsterdam. Leo's signature sound of jazzy boom-bap and Lofi beats provides the perfect backdrop for Abs positive and skillful rhymes. One could easily dismiss “Still Dreaming” as a throwback album with a sound that is somehow stuck in the past. Kid Abstrakt’s love for that jazzy boom-bap is all over the place. He even raps about it - with the same passion and humbleness that he raps about his life, his family and the world we are living in today.
That's why we rather call “Still Dreaming” feelgood music that doesn't suck. Feature artists include Vsteeze, Tab One, Kamau, Awon, Rain Bisou and Hvmble. Artwork by Gizem Winter.

Repress!

From its creation in the late 90s until its closure in 2009, the Toytronic label witnessed a digital revolution that transformed the record industry, turning glitch into a production tool for a whole generation heir to the of bleep ‘n’ bass sound. Thanks to their impeccable A&R credentials, its head honchos, Martin Haidinger and Chris Cunningham, created an incredible IDM label catalogue, as well as producing their own material under pseudonym Abfahrt Hinwil. Their only album to date ‘Links Berge Rechts Seen’ Toytronic, 2002 was released as a compilation featuring tracks from their brief career that over the years has become a benchmark for the Toytronic sound. This album included their first –and only– three releases signed to Expending Records and Toytronic, and also included two previously unreleased songs: ‘Planquadrat’ and a hidden track at the end of the CD version. Lapsus proudly presents ‘Links Berge Rechts Seen’, which will be released on vinyl for the first time as part of its'Perennial Series'. The collector’s format marbled 2LP is accompanied by a double-sided lithographic print, which includes a unique and exclusive interview from Martin and Chris, talking to prestigious electronic music journalist Philip Sherburne.

Sampled Funk : all the pearls of the Groove, sampled by the greatest hip-hop and R&B DJs and producers. From the first block parties of the 1970s to the digital revolution, the organic rhythms of the funk, disco, and soul music craftsmen have provided the DNA for countless rap classics. The new volume of the Give Me The Funk series explores the groove treasures sampled by hip-hop and R&B"s greatest DJs, producers, and other " creative diggers ". Cramp your style, here come the hotsteppers! From Johnny Guitar Watson to Instant Funk to B.T. Express and Clarence Reid, Sampled Funk goes back to the source of must-have tracks from Eric B & Rakim, Kanye West, Beastie Boys, De La Soul, Cypress Hill, Dr. Dre, Snoop Dogg and many more.

Mikail Tafari aka Congo Natty aka Conquering Lion aka X Project aka Rebel MC is back.
After releasing his acclaimed 31 track album last October on digital platforms, he comes with a 9 track double LP featuring the more uptempo tracks & Mixed Double CD Mixtape.
He created the tracks with his ‘Resistance Band’, featuring a rich talent of the established & new global artists from Brazil, Japan, Jamaica via Deptford & Tottenham. It crosses genres of Drum & Bass, Reggae, Jazz & shows the Rootz of Jungle. The Resistance Band include The cream of reggae: Courtney Melody, Reggie Stepper, Junior Delgado, Daddy Freddie & Carroll Thompson. The new school of uk vocal talent: Maverick Sabre, Eva Lazarus, Akala, Klashnekoff & Logic & the new jazz school : Shabaka Hutchins, Nubya Garcia on sax & Amrit Kaur on sarangi. Plus international artists: from Brazil – Monkey Jhayam, Japan : Junglists Youths, Fikir Amlak & Krar Collective from Ethiopia, but all have their rootz in Jungle.

Set to represent the global diaspora and giving a voice to the people on the upcoming album, Congo tells the most important story jungle music can tell whilst documenting the uprising and reflecting on where mankind, culture and the journey is at in 2023.

With a five decade deep discography spanning seminal and timeless releases like Street Tuff, Tribal Bass & Wickedest Sound (as Rebel MC), Junglist, Get Ready, Code Red, Under Mi Sensei, Get Wild, Kunta Kinte and more, Congo has played a founding and hugely influential role in one of the most phenomenal, boundary breaking music movements the UK has ever known.

Remaining on the front line of the musical rebellion to this day, Mikail understands jungle’s power to unite and break barriers. Weaving positive affirmations of his spiritual life as a Rastafarian into his song writing, he has been an consistent protagonist in the jungle uprising since the early 90s. Forever humble, he seeks to spread more positivity and encourage unity, whilst focusing on the new generation who will carry his torch into the next five decades.

Continuing to spread the Congo Natty message as a performer, musician, label owner, pioneer, revolutionary, humanitarian and father, Ancestorz (Rootz Of Jungle) is set to be his most personal, ambitious, timeless and expert album to date and his finest chapter yet.

Wiederveröffentlichung eines gefeierten und gesuchten Klassikers des Roots Reggae von 1978, produziert von Augustus Pablo und Hugh Mundell, re-mastered von Kevin Metcalfe! Die Musik wurde eingespielt von Basil "Benbow" Creary, Carlton "Santa" Davis, Wycliffe "Steely" Johnson, Jacob Miller & Leroy "Horse Mouth" Wallace (Drums), Robbie Shakespeare & Leroy Sibbles (Bass), Earl "Chinna" Smith, Geoffrey Chung & Clayton Downie (Guitar), Paul "Pablove Black" Dixon & Augustus Pablo (Organ, Piano, Melodica) und aufgenommen im Channel One Studio (Engineer: Ernest Hookim), Harry J Studio (Engineer: Sylvan Morris), Joe Gibbs Studio (Engineer: Errol "Errol T" Thompson), King Tubby's Studio (Engineer: Phillip "Prince Phillip" Smart), The Black Ark (Engineer: Lee "Scratch" Perry).

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

Ebalunga!!! is thrilled to announce the first official reissue of the self-released, self-produced, and self-titled 1985 LP Scott Seskind. The album is a lo-fi singer-songwriter jewel. Don’t miss it.
“Authentic and personal, at times it reminds this writer of luminaries such as Jackson C. Frank, PF Sloan, Skip Spence, and Phil Orchs while never feeling derivative.

The songs are melodic and haunting, fueled by existential woes, political angst, and good ol’ fashioned love. Scott’s rich voice has an unpretentious gravitas, his simple-yet-effective guitar playing ranging from delicate fingerpicking to angry bashing.
Created at home on a Tascam 4-Track Portastudio, the recording features few frills and is all the better for it. Unlike most mid-80s records it sounds like it could have come from any time since the late ’60s onwards. As a testament to its greatness, and despite the late recording date, it even gets a nod on Patrick Lundborg’s “Acid Archives” compilation website, Lysergiawhere it’s described thus: “Late phase downer-loner folk and singer-songwriter trip, mostly acoustic, some tracks with a small band.” – Andrew Ure for Ugly
Things.Read a long story about the album in the upcoming Shindig! issue: Story about Scott Seskind in Shiding Mag.
The reissue is available on vinyl with a lyric insert.
Mastering (as always) by Jessica Thompson.

Feedbacks and reviews:
“Almost totally inheralded singer-songwriter Scott Seskind gets the reissue treatment, and I couldn’t be happier. About a year ago I pulled Seskind’s sole vinyl release out of the used bin of a Boulder record store, and with its almost Wallace Berman-esque cover art, could immediately suspect it was something special. The first listen didn’t dispel that notion one bit; here was an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that didn’t really snyc with its 1984 recording date. Definitely on the loner-ish end of the folk spectrum, with some aspects of the album harkening back to Skip Spence’s iconic Oar, while other moments revealed the urgency of the ’80s lo-fi revolution. But most importantly, the songs were just really, really great and managed to remain haunting long past their leaving.

Here, I thought, is an album that needs to be heard by more people, NOW. I asked around amongst some record collecting friends and discovered it was pretty highly rated by a small circle of people in the know, and that it had even managed to garner a mention in the Acid Archives despite its late recording date, and most excitingly that there was talk that the digital reissue label Yoga had managed to track Seskind down and secure the rights to his LP. (…) So here we have it, the best songs from Seskind’s eponymous LP. (…) I really hope this release continues to garner the listeners that it deserves.” – Michael Klausman

“The one that struck us the most this year was the almost totally unheralded work of singer-songwriter Scott Seskind, who recorded an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that doesn’t really sync with its original 1984 release date. Definitely on the loner-ish end of the folk spectrum, with songs that are really, really great and which manage to remain haunting long past their leaving. Truly an album that deserves to be heard by more people immediately. ” – Other Music

Die Zusammenarbeit zwischen NEIL GAIMAN und dem FOURPLAY STRING QUARTET startete 2010, als das Sydney Opera House's Graphic Festival FOURPLAY beauftragte, einen Soundtrack zu NEILs Novelle "The Truth is a Cave in the Black Mountains" für eine Live-Performance mit ihm zu schreiben. Diese Zusammenarbeit führte zu einer anhaltenden Freundschaft und kreativen Zusammenarbeit, bei der NEIL und FOURPLAY das Konzept einer Reihe von Original-Werken rund um das Konzept des Tierkreises erarbeiteten, wobei die traditionellen Zeichen durch eine neue Sammlung von Wörtern und Objekten ersetzt wurden, die Aspekte des Lebens erkunden. Sie nannten diese Zusammenarbeit Signs. Einige der Arbeiten in "Signs Of Life" wurden für dieses Projekt entwickelt. Neben diesen Original-Werken gibt es neue Gedichte und Geschichten von NEIL, die mit der Musik von FOURPLAY verwoben sind, zwei Covers von Songs aus NEILs früheren Projekten und ein Instrumental-Stück, das von NEILs Arbeit inspiriert ist. Da sich alle Beteiligten in ihrer Kreativität immer geweigert haben, sich in eine Schublade stecken zu lassen, haben sie mit "Signs Of Life" etwas Bemerkenswertes und Einzigartiges geschaffen. Das Album ist eine großartige, bahnbrechende und genreübergreifende Zusammenarbeit zwischen einem großartigen Autor und einem einzigartigen Musik-Ensemble. Es ist teils Songwriting, teils Poesie, teils Storytelling; allumfassend schön. NEIL GAIMAN ist einer der beliebtesten und am meisten gefeierten Schriftsteller unserer Zeit. Sein Werk ist genre-, alters- und formatübergreifend und spannt einen Bogen über Romane, Fernsehen, Film, Kurzgeschichten, Comics, Hörspiele, Theater und mehr. Kürzlich wurden seine Romane "Good Omens" (gemeinsam mit Terry Pratchett geschrieben) und "American Gods" als Fernseh-Serien von Amazon Prime adaptiert. Seine revolutionäre und bahnbrechende Comicserie "The Sandman" wurde auf Netflix und Warner Bros. Television veröffentlicht und war mehrere Wochen lang weltweit die Nummer 1 auf Netflix. Das FOURPLAY STRING QUARTET ist in der Welt der Streichquartette etwas ganz Besonderes. FOURPLAY, die eher eine Band als ein klassisches Ensemble sind, improvisieren, jammen mit Ideen und verwenden außergewöhnliche Instrumental-Techniken und Effekte, um verblüffend originelle Klänge zu erzeugen. Nachdem sie zunächst durch ihre Interpretationen der Musik von Künstlern wie METALLICA, THE STROKES, RADIOHEAD, THE BEASTIE BOYS und CHARLES MINGUS weltweit bekannt geworden waren, konzentrierten sich FOURPLAY auf die Entwicklung ihres eigenen Repertoires und auf die Zusammenarbeit mit hybriden Medien und Projekten.

2023 Repress

Dub companion to the 'five star' 1978 release, 'Africa Must Be Free By 1983,' this album underscores the relationship between producer Augustus Pablo and performer Hugh Mundell. Pablo's dub productions, mixed by King Jammy form the perfect compliment to these classic rhythms and melodies. Re-mastered for release in celebration of the 40th anniversary of the Greensleeves label, the album is example of why Augustus Pablo continues to inspire reggae music fans and musicians these
Pablo's Rockers International productions in dub, in their original packaging. Re-mastered for the 40th Anniversary of Greensleeves label.

Joy Oladokun is an American singer-songwriter. Oladokun's music spans the genres of folk, R&B, rock, and pop and is influenced by her identity as a queer woman of color. The new album Proof of Life is set to feature several major collabs for the songstress, including “Friends” with Mt. Joy, “Sweet Symphony” with Chris Stapleton, “Revolution” with Maxo Kream, and “We’re All Gonna Die” with Noah Kahan.

Remastered Reissue von WANDERMÜDE, einem exquisit-seidigen Stoff aus den kombinierten Fäden des deutschen Klangkünstlers Stephan Mathieu und des hochgelobten David Sylvian. Das 2012er Werk erscheint erstmals auf Vinyl, beide Formate enthalten einen unveröffentlichten Bonustrack. Als Interpretation von David Sylvians kathartischem Meilenstein BLEMISH (2003), mit dem dieser mit seiner musikalischen Vergangenheit brach, ist WANDERMÜDE ein feines, futuristisches Gemälde elektroakustischer Kunst. Es erforscht die ruhigeren, elektronischen Seiten beider Persönlichkeiten, liefert experimentelle, drone-eske Formen und lammfromme Themen, und mit dem Gitarristen/Elektronikkünstler Christian Fennesz ist wieder ein BLEMISH-Gast mit von der Partie.

30 years after... their first record !!!!

GRAMMY® Award-winning, RIAA platinum-certified international icon Tiësto will release his highly anticipated album ‘DRIVE’ on the 21st April, with pre-order set to go live on the 6th March. The album is more than just an “album,” it’s an experience that showcases Tiësto’s unique style. “DRIVE” will take you on the ride of your life; featuring previously released Don’t Be Shy, The Motto, The Business, Hot in It & 10:35, which have all accumulated over 3.5B streams leading into its release.

Tiësto is a GRAMMY® Award-winning, RIAA platinum-certified, international icon. The DJ and producer is the only artist to ever hold the titles of “The Greatest DJ of All Time” courtesy of Mixmag, and “#1 DJ” according to Rolling Stone. From his underground dance floor bangers to his high profile Las Vegas residency and worldwide crossover success, Tiësto created the blueprint that defines what it means to be a superstar in today’s dance music world. With over 36 million albums sold, 10+ billion cumulative streams, and a social platform with an audience now exceeding 30 million fans around the globe, he continues to revolutionize the dance music landscape.

Tiësto’s first single upon signing with Atlantic Records, 2020’s “The Business,” has dominated airplay and charts worldwide since its September 2020 release, hitting #1 at US Dance radio while also garnering over 1.6 billion worldwide streams to date. A top 10 hit in 10 countries, as well as a Top 50 success on Spotify in 31 countries, “The Business” was honored with “Best Dance/Electronic Recording” nomination at the 64th Annual GRAMMY® Awards as well as 15 platinum certifications and eight gold certifications in countries around the world. “Don’t Be Shy” with Karol G followed in 2021, marking Karol G’s first-ever English language song and the first Latin Artist collaboration for Tiësto.

The historic track currently boasts over 867 million streams, over 1.2 million TikTok creates, and video views exceeding 290 million. The third single from Tiësto’s upcoming album on Atlantic Records, “The Motto” with Ava Max, proved another blockbuster, reaching the top 5 on Billboard’s “Dance/Electronic Songs” chart while earning more than 929 million worldwide streams to date. This summer saw “Hot In It” with Charli XCX reach the top 10 on Billboard’s “Hot Dance/Electronic Song” chart, fueled in part by over 200 million views across TikTok and IG Reels, and over 122 million streams to date.

With the verve of the early onset of a love affair, Julian Muller’s and MRD’s first release on NALI isn’t shy of evoking deep feelings on the backdrop scattered bass lines. The four-track EP draws from transcendental soundscapes and blends them with well-crafted solid techno. Hopeful, revolutionary and yet club driven, the vocals are pop-leaning with a hint of the aesthetics of popularized club culture that came up in the late 90ies. A promising kick-start for the freshly conceived label and its musical agenda.

TAPPA’S CLASSIC ‘PICK UP THE ROCKERS’ CUT AT CHANNEL ONE BY THE REVOLUTIONARIES,
ALONG SIDE IT’S KING TUBBY DUB CUT.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment.

Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forwardlooking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles.

There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light.

Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway— feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.