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Blending British techno and hyperpop with the Baile Funk and samba of singer Paula's native Brazil, PPJ are considered by British magazine NME to be one of the most innovative bands of the moment.

The double EP "Bloco Vol.1 & Vol.2" tells the story of the band's journey to Rio de Janeiro, far from the postcards we know of Brazil.

"One of the most innovative new names around" NME

"A fascinating and exhilarating blend of neoperreo, techno and electroclash from a group to watch" RESIDENT ADVISOR

"Kaleidoscopic techno-pop" DJ MAG

"A real anti-depression remedy"LINE OF BEST FIT

"Their main goal? To make everybody dance" METAL MAGAZINE

‘It’s hard to find an act as distinctive as PPJ » MIXMAG

Released in 1972 as the follow-up to the previous year's classic CTI album with Stanley Turrentine, Now is Astrud Gilberto's tenth studio album and her only recording on Perception, and wow does she make the most of the musicians available to her on this recording. Produced by Astrud herself and with all songs arranged by fellow Brazilian Eumar Deodato, the all-star line-up on Now includes Deodato on acoustic guitar, more Brazilian flavours from Airto Moreira on percussion, label vice-President and production genius Patrick Adams on Bass duties (along with Bob Cranshaw and Ron Carter), Dizzy Gillespie Quintet and Jazzberry Patch band member Mike Longo on keyboards and the mighty Billy Cobham on drums.

Collecting Orders For 2025 Repress

Emotional Response's 10th-anniversary celebration are brought to a superb close with Benedikt Frey. He serves up a magnificently dubbed out and psychedelic cover version of Joy Division's 'She's Love Control across four different versions. The vocal version might be the best for us - it retinas that compelling dark drum funk you expect from the band with eerie synth additions and hefty bass. The instrumental is more slow and dubbed out in a traditional sense with the Lucas Croon dub doused in endless reverb. Last of all is a dub by Frey himself that is full of open space and bass bin distorting headiness.

Fishbowl EP marks Natebytheway at his most personal, sounding like both a producer and a festival headliner electronic band with soul. His vocals stick instantly, built to work both in sweaty clubs and oversized main stages without losing intimacy. Synths radiate calmness and energy at once, thus mirroring Nate’s spirit: generous, luminous, but never naive.

Because, when he wants, he turns malicious grooves snappy, percussions schematic, and melodies that play dirty tricks. Fishbowl feels destined for permanence, a song that will outlive the night it was born in.
La Gente Es Sexi is a razor-sharp club tool for lovers of Spanish, hips forward, and crooked smiles.

Noodle Bloomers seduces dancers who live between gardens, terraces, daylight and dawn.

And lastly, The Eligible Groovester loops like an obsession its image already imagined as Nate cycling through warm San Francisco streets, collecting strange souls along the way.

Electric Mud is the fifth studio album by Muddy Waters, with members of Rotary Connection serving as his backing band. Released in 1968, it imagines Muddy Waters as a psychedelic musician. Producer Marshall Chess suggested that Muddy Waters recorded it in an attempt to appeal to a rock audience. The album peaked at number 127 on Billboard 200 album chart. It was controversial for its fusion of electric blues with psychedelic elements.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

HolyBrune begeistert mit ihrer sanften Stimme und eingängigen Toplines. Als Singer-Songwriterin und Komponistin erlangte sie erstmals Aufmerksamkeit an der Seite von Dabeull mit dem goldzertifizierten Hit „You & I“. Mit „Visions“ liefert sie eine intergalaktische Ode an die Liebe, die kosmische Romantik und Retro-Futurismus miteinander verbindet. Verspielt und luftig vereint der Track Vocoder, Talkbox, groovigen Bass und kitschige Synthesizer – eine lebendige Hommage an die 80er-Jahre und The Rah Band.

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

"The Happening by Tomorrow Comes The Harvest is the least case, a provocative confrontation. It's a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn't make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more. What it does is expand the scope from us to "it". Creating and constructing music for the subject of existence is a tall order.

The concept of The Happening is about the beginning and the end of Time and Space; the initial point of when reality starts and its conclusional apex. In the beginning, there is a great light. And from this light, comes life. Life is lived until it isn't.

This is what The Happening implies. It speaks about a 9-minute frame in reality, used to emphasize something that happened a very long time ago, something that happened in its creation and what will eventually happen far in the future.

The Happening was of an accidental birth. The love child of three musicians (Jeff Mills, Prabhu Edouard and Jean-Phillippe Dary) who was just asked to play "something" so that the camera crew could have extra b-roll for all the previous footages of the band while they were working in the recording studio in the North of Paris for their album Forbidden Planet. There was no discussion of what they'll do, no plan, no direction other than to use music to reach a level of consciousness.

Somehow within these transformative 9 minutes, something was felt by each of them, explored to its furthest point, which lead to this extraordinary creation. The Happening refers to the life and death of everything living thing. Infinity."

Jeff Mills

SCALER are the electrifying Bristol-based band hailed as the city’s “next national breakthrough” thanks to their pulverising live show and meticulous, mind-warping sound. Now they’re back with ‘Endlessly’, a sublime and stylistically expansive new album. 10 potent tracks written and recorded more collaboratively than ever before, as SCALER explore what it means to make music with no ceiling.


Building on what they know and taking it in new directions has been a constant throughout the three-year journey behind ‘Endlessly’, which came together in the studio beneath Bristol’s legendary The Louisiana. Inspired by time apart, the album finds them reconnecting with their diverse sonic touchpoints – many tangled in their city’s much-mused-on musical heritage – and the creative energy of collaborators around them. Close friends and long-admired peers, including Akiko Haruna, Art School Girlfriend, Tlya X An, Shadow Stevie, Thomas Ridley and Cold Light’s ELDON add colour to SCALER’s darkened palette and point to the left-turns they’re leaning into. The intense softens into introspection. The blistering becomes a balm.


‘Endlessly’ is the second album from SCALER, a.k.a. Alex Hill, Isaac Jones, James Rushforth and Nick Berthoud, alongside visual artist Jason Baker. The record follows 2022’s acclaimed ‘Void’ and marks their debut for Bristol’s revered Black Acre, a longtime champion of genre-defying electronic music.

Tuskegee continues apace with ‘Work Come First’ from Life on Planets, a flawless blend of classic house, R&B, and conscious songwriting, remixed with finesse by Omar S and Soul Clap’s Charles Levine.

A modern-day hymn to hustle and stride, ‘Work Come First’ doesn’t chip away at the soul in pursuit of success. Working in collaboration with like-minded producer Seven Davis Jr., Phill Celeste applies his key alias to a triumphant, full-bodied songwriting moment. Led by beautiful organ piano, mingling with the artist’s defiant vocals and defined by the feel of a full live band, ‘Work Come First’ continues Life On Planets' beguiling, genre-crossing journey.

In ever-charismatic and minimal mode, Detroit icon Omar S breaks down ‘Work Come First’ into core elements for the floor, blowing out the system and applying Life on Planets’ vocal performance to a raw, lo-fi arrangement with a hint of street soul. In neat parallel, Charles Levine delves into the more full-bodied, rich elements of the track, tripping on the sophisticated funk long associated with the Soul Clap founder’s oeuvre.

Complimenting both takes, producer Seven Davis Jr. provides an alternate ‘Sev’s mix’, a little rougher around the edges for dancers under red lights.

This album consists exclusively of instrumental versions of songs by The Beatles, featuring ten of the songs from the band's White album.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Among the true Keiji Haino devotees, Nijiumu’s Era of Sad Wings (released on P.S.F. in 1993) has always held a special place in the pantheon. Operating for only a few years in the early 90s and apparently only performing a handful of shows, Nijiumu operated at the opposite end of the dynamic spectrum to Haino’s famed power trio Fushitsusha, dwelling in a hushed, meditative realm of mysterious droning sonorities and free-floating melodies that occasionally erupts into violence. Black Truffle is pleased to announce a new double-LP edition of a lesser-known 1994 Nijiumu recording, When I sing, I slip into the microphone. Into that void, I bring comrade “prayers”, then, turning to face the outside, together we explode. Here, Nijiumu is the trio of Haino, Tetuzi Akiyama and the obscure Takashi Matsuoka, the three performing on a wide variety of string, wind and percussion instruments, as well as electric guitar and bass, and Haino’s unmistakeable voice.

Like on the early solo Haino album that shares the group’s name (released on P.S.F. in 1993), the instrumentation swims in reverb (the use of which Akiyama recalls as ‘a kind of point of the band’), often obscuring the instrumental sources. On the short opening piece, a distant reed instrument arcs long buzzing melodies over a bed of cymbals and gongs, like a psychedelic take on Tibetan music. The epic second part, occupying almost 50 minutes, begins as a splayed, near-formless cloud of electric guitar and bass, shadowed by bowed and plucked strings, the three elements working through twisting atonal shapes. At various points in the recording, we hear what seems to be the sounds of musicians moving between instruments, their shuffling and bumps fitting seamlessly into this radically open music. Eventually, what sounds like electric guitar moves closer to the foreground, fixing on a repeated melodic cell around which hover mysterious clouds of long tones and a sporadic shaker. At the half-hour mark, the music begins to build to a violently emotive climax, Haino’s impassioned vocal cries punctuating a lumbering, bass-heavy murk, contrasted at points by what sounds like a tin whistle. Suddenly, the volume drops to a near-whisper, opening the way for the stunning final moments, which touch on the slow-motion balladry of Haino’s classic Affection, here given an eccentric twist by an occasional woodblock hit. The third piece opens with a hazy trio of rumbling bass, bowed strings and abstracted slide guitar, the latter calling to mind some of Akiyama’s later solo work. Eventually joined by Haino’s voice, its fragile, haunted tone might remind the listener of the man in black’s documented love of the madrigals of the murderous Count Gesualdo, before the recording abruptly breaks off mid-note. In this new edition, the Nijiumu trio recording is supplemented by a piece recorded solo by Haino in 1973, a bracing electronic blowout stretching almost half an hour. Using a homemade electronics setup to unleash a barrage of crunching distortion and shuddering harmonic fuzz, it takes its place in the canon of extreme live electronics next to Robert Ashley’s Wolfman and Walter Marchetti’s Osmanthus fragrans, looking forward to extreme noise years before Merzbow. Taken as a whole, these four sides of music are a stunning document of some of the lesser-known waystations of Haino’s singular creative path.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

The latest boy band in town, POP VAMPIRES COLOGNE, opens the party with the enigmatic ‘Karianne’. SUPERPITCHER knows how to make a grand appearance, accompanied by high-calibre guests. His electro-pop treat ‘Pandora’s Box’ features Hot Chip’s ALEXIS TAYLOR​ on vocals.​ JÜRGEN PAAPE isn’t coming alone either, but with newcomer HELLA in tow. ‘Grace (A Tale)‘ once again shows our resident hit maker at his best. JÖRG BURGER also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. REINHARD VOIGT points out that money never sleeps and proceeds according to the motto: ’​Zahl an einem anderen Tag (Pay another day​)’. Our Brazilian whirlwind GUI BORATTO returns after a long absence with the banger ‘Panorama X-Press’. After careful consideration, ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time. WASSERMANN contributes an ultra-fat remix of Mayer’s ‘Brainwave Technology’, while MICHAEL MAYER himself marvels at the rare ‘Erdbeermond’. HARDT ANTOINE’s ‘Let Me Go’ really gets the party going again before WASSERMANN orders a large taxi and skips out on the bill.

See you again next year!

TOTAL 25… Schon wieder ein Jubiläum in einem an Jubiläen ohnehin nicht armen Jahr. Zum 25. mal versammelt sich die Kompakt Familie zum alljährlichen Stelldichein. Ohren angelegt, los geht’s!
Die neueste Boygroup in town, POP VAMPIRES COLOGNE eröffnet die Party mit dem enigmatischen ‘Karianne’. SUPERPITCHER weiss, wie man einen großen Auftritt hinlegt, und zwar in hochkarätiger Begleitung. Sein Elektropop-Leckerbissen ’Pandora’s Box’ featured Hot Chip’s ALEXIS TAYLOR an den Vocals. Auch JÜRGEN PAAPE kommt nicht allein, sondern mit der Neukommerin HELLA im Schlepptau. ‘Grace (A Tale)’ zeigt unseren Haus- und Hitlieferanten mal wieder in Bestform. JÖRG BURGER hat ebenfalls eine Tischdame im Gepäck, die überaus talentierte Irene Kalisvaart, und remixed sich obendrein selbst. REINHARD VOIGT gibt zu Bedenken, dass Geld niemals schläft und verfährt nach dem Motto: ‘Zahl an einem anderen Tag’. Unser brasilianischer Wirbelwind GUI BORATTO meldet sich nach längerer Abstinenz mit dem Banger ‘Panorama X-Press’ zurück. ROBAG WRUHME hat seinen neuen Track nach reiflicher Überlegung ‘Total’ genannt und singt darauf erstmals selbst im Chor mit seiner Familie. Der WASSERMANN steuert einen ultrafetten Remix von Mayers ‘Brainwave Technology’ bei, während MICHAEL MAYER selbst den seltenen ‘Erdbeermond’ bestaunt. HARDT ANTOINE’s ‘Let Me Go’ bringt die Party nochmal so richtig in Schwung, bevor der WASSERMANN ein Großraumtaxi bestellt und die Zeche prellt.

Wir sehen uns wieder im nächsten Jahr!

Forgotten Paradise is a new vinyl series from Western Lore, focussed on exploring the full breakbeat hardcore &
Jungle Tekno tempo range through a collection of 12” singles & EPs

After an under the radar, vinyl only bootleg 12” kicked off the series in 2024 (and flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail), L own, the producer behind the record returns to the series for the first of a two part long player showcasing the depths of his sound.

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos.

a long-awaited reissue of an ultra-rare 7-inch single, originally released as a promo-only item from handsome boy, the 1990 masterpiece by inoue yosui—widely regarded as one of the greatest singer-songwriters in japanese music history.

“pi po pa,” arranged by haruomi hosono and used in a tv commercial at the time, was featured on heisei no oto, a compilation released by music from memory. the album’s standout track, “shonen jidai,” remains one of japan’s most iconic and beloved songs.
also included on this 7-inch is “yume migokochi,” a pinnacle of japanese balearic sound, arranged by yuji kawashima—keyboardist of ep-4, a kyoto-based band essential to the history of japanese new wave.

and exclusive to this release is “kurenai suberi,” an overlooked gem that might best be described as inoue’s take on cold-funk.

remastered from the original master tapes by kuniyuki takahashi, and housed in the ori-ginal artwork.

Karol G, is a Colombian singer. Considered as one of the most influential reggaeton and urban pop artists, she has received awards including a Grammy, six Latin Grammy Awards and five Billboard Music Awards. She was recognized as Woman of the Year and with a Rulebreaker Award at Billboard Women in Music, with the Spirit of Hope Award at the Billboard Latin Music Awards.

If you asked KAROL G, “What would the album that best represents your Latin community sound like?” — she’d answer with her fifth studio album, TROPICOQUETA.

This is the fourth volume in the collection dedicated to the Arlecchino nightclub in Santa Maria Codifiume, in the province of Ferrara. It's once again a double-vinyl set that gathers the best of Afro, Funky, Rare Groove, and Black Music, as played at the club by resident DJs Giancarlo Lelli, DJ Ghello, and DJ Frank.

Australian post-grunge band Silverchair released their debut album Frogstomp when the band members were only 15 years of age. In just 9 days they recorded a fantastic album, in which they show that even young teenagers know how to rock. In the tradition of Pearl Jam and Nirvana they recorded an album sounding like Stone Temple Pilots. Daniel Johns is not only a great vocalist, but also a good guitar player, both playing slow as fast songs. Yes, this is definitely one of the best efforts you can make when you’re still this young. And even now almost 15 years after its release it sounds fantastic.

Die Cinematic-Funk-Visionäre The Diasonics liefern mit ihrem neuen Album ,Ornithology", das am 3. Oktober über Record Kicks veröffentlicht wird, ein weiteres solides Set aus östlich angehauchtem Psychedelic, Cinematic und Disco-Funk. Nach ihrem 2022 von der Kritik gefeierten Debütalbum ,Origin of Forms", das von PopMatters zum Library Music Album of the Year gekürt wurde, kehren die in Moskau ansässigen Instrumentalisten The Diasonics mit ,Ornithology" zurück, einem zweiten Album, das ihre klanglichen Grenzen erweitert und gleichzeitig ihrem unverwechselbaren Stil treu bleibt. Aufgenommen in ihrem eigens errichteten Studio 23, das sich in einer umgebauten Lampenfabrik aus der Sowjet-Ära befindet, ist das Album das Ergebnis von zwei Jahren intensiver kreativer Erkundungen und Experimente. Mit ihrer ganz eigenen Mischung aus cineastischem Funk, östlich angehauchten Melodien, instrumentalem Hip-Hop und analogem Soul haben sich The Diasonics einen einzigartigen Platz in der globalen Funkszene geschaffen. ,Ornithology" markiert ein neues Kapitel: Inspiriert von wiederkehrenden Vogelmotiven in ihrer Umgebung, von Zügen und Bahnhöfen bis hin zu lokaler Folklore und den Schreien der Vögel, die über ihrem Studio kreisen, kanalisiert die Platte Ideen von Bewegung und Freiheit, sowohl thematisch als auch musikalisch. ,Das Thema Vögel und Ornithologie ergab sich ganz von selbst - wir fingen einfach an, überall um uns herum vogelähnliche Namen zu bemerken: Züge und Bahnhöfe, Geschäfte, Orte, Nachnamen von Menschen, Bücher und Filme", sagt die Band. "Wir besorgten uns ein paar alte Synthesizer und stimmten die Oszillatoren, während wir den Schreien der Möwen lauschten, die um die Fabrik flogen, in der sich unser Studio befand. Die Ideen von Flug, Freiheit und Raum wurden zentral für die Musik des neuen Albums." Klanglich gehören zu den wesentlichen Merkmalen von Ornithology nicht nur die Synthesizer, sondern auch Diana Grebs hypnotischer Gesang, der sich nahtlos in die Klangpalette einfügt und dem instrumentalen Funk Leben und Seele einhaucht. ,In unserer Vorstellung balancieren wir wie Vögel zwischen der Erde und dem Himmel und haben versucht, unsere eigene musikalische Sprache innerhalb des Konzepts der Ornithologie zu erschaffen, die den Wunsch eines jeden Menschen widerspiegelt, den Vögeln näher zu kommen und frei zu schweben, jenseits von physischen oder mentalen Grenzen." Die 2019 gegründete vierköpfige Band, bestehend aus Daniil Lutsenko (E-Gitarre), Kamil Gazizov (Keyboards), Maksim Brusov (Bass) und Anton Moskvin (Schlagzeug & Perkussion), erlangte durch eine Reihe von begehrten 45er-Scheiben auf Mocambo Records und Funk Night Records schnell Kultstatus. Ihr von der Kritik hochgelobtes Debütalbum Origin of Forms,, das von Henry Jenkins, dem Produzenten der australischen Kultband Surprise Chef, gemischt wurde, erschien 2022 auf Record Kicks und wurde von PopMatters (US) zum Library Music Album" des Jahres und von FIP (Radio France) zum Album des Monats gekürt. Das Vinyl war innerhalb weniger Wochen ausverkauft und ist nun in der internationalen Cinematic-Funk-Szene sehr gefragt. ,Origin of Forms" erhielt begeisterte Kritiken von Zeitschriften wie Wax Poetics, Mojo, Rolling Stone FR, Clash, Uncut und wurde von Jamie Cullum (BBC2), KEXP, Radio France und Huey Morgan, Don Letts, Cerys Matthews und Tom Ravenscroft von BBC 6 Music, um nur einige zu nennen, unterstützt und gespielt. Mit dem neuen Album Ornithology tauchen The Diasonics in üppige Synthesizer, stripped-down Grooves und rohes instrumentales Zusammenspiel ein, schöpfen aus der Library-Musik der 1970er Jahre, sowjetischer Jazz-Fusion und Disco-Funk und liefern eine weitere supersolide Veröffentlichung, die all die Einzigartigkeit bestätigt und vorantreibt, die ,Origin of Forms" so verlockend machte. Unverzichtbar für Fans von Khruangbin, Surprise Chef und instrumentalen Funk-Grooves.

Emotional Response is delighted to present the debut EP of Aaron Coyes (Peaking Lights / Leisure Connection) new project, as Exotic Gardens. An additional music universe as his love of dub expands to include new wave, goth and acid psychedelics across 5 catchy, bass heavy songs.

While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.

Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.

Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.

Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.

In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.

To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.

“I turn it on, you lose your mind’.

Das windgepeitschte Leben an der Ostküste Schottlands, die gemächlichen Klänge und das warme Gefühl, dass am Ende doch alles gut wird, vereinen sich auf Gulps drittem Album zu einem betörenden Erlebnis, auf dem die Band um das Duo Lindsey Leven und Guto Pryce (Super Furry Animals) ihren ätherisch-folkigen Psych-Pop zelebriert. "Beneath Strawberry Moons" ist ein hyperlokales Album mit minimalem CO2-Fußabdruck, basierend auf dem zart aufgeladenen Gefühl des Paares für das schottische Erbe und die erfrischende Nähe zum Meer. Eine Feier von Raum, Liebe, Verbindung und Zeit, durchzogen von einem zugrunde liegenden Bewusstsein für die Zerbrechlichkeit dieser Schönheit.

Spiritual World's first archival 12" vinyl release from the UK’s free festival dub pioneers.

The Ullulators, an experimental dub and world music ensemble from Bath, UK, have long been associated with the UK’s free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography—“Simply Conscious Dub” and “Eternal
Now”—are being issued on 12” vinyl, marking the first archival release on Spiritual World.

The A-side, “Simply Conscious Dub”, originally featured on the 1986 cassette Beyond the Gates of Ull, exemplifies the band’s signature fusion of weighty dub rhythms with expansive and euphoric electronics.
In contrast, the B-side, “Eternal Now”, drawn from the 1985 cassette Share a Calm with the Ullulators, ventures into more introspective sonic territory. Built on minimalist structures and ambient textures, it evokes the kosmische tradition and aligns with the spatial sensibilities of Manuel Göttsching’s E2-E4.

Together, these tracks not only showcase the group’s wide stylistic range but also underscore their forward-thinking approach to genre hybridity. This release stands as a unique document of a formative era in the
evolution of UK underground, dub, and ambient music.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

On point, until it hurts. With a decade-spanning discography, several bands and half of SHXCXCHCXSH this restless creator presents himself. SSTROM embodies the calmly bold. Building a version of the modern disco that nobody asked for. SSTROM is the capsule that shocks and comforts, gathers and spark a new thought. The robust shell acts as a camouflage for the wild and wicked bleakness of the music he produces. If the contemporary club urge could be described as a helmet waiting to brake this experience is what you are after; surprising, uplifting and changing. With 'Avvik' SSTROM carves out 6 somatically clear scenes articulating diverse textures, densities and states of aggregation. The constructions evolves as fractious rhythms strives for another order. Trial and errors bungys droughty, moist, stiff and tensile. Sstrom forces us to flicker in twitches between layers and dimensions beyond the given three.

“This album is us appreciating how amazing this thing we have is. The realization of how lucky we are that we get to be part of something like this for 25 years, and to have built a community that cares for each other in the way it does. It’s not about any of us individually. When we all work together to make something happen, something bigger happens.” - Jono, Paavo and Tony – Above & Beyond.

If much of the mindset and mantra behind Above & Beyond over the last quarter of a century has been born from the idea of connection, then their fifth artist album ‘Bigger Than All Of Us’ is best summed up in one word: reconnection. It’s been seven years since Jono Grant, Paavo Siljamäki and Tony McGuinness released their fourth electronic album, Common Ground. A #3 on the Billboard charts – an achievement that speaks to the British band’s huge, arena-to-amphitheatre scale profile in America, a level of success replicated in pretty much every other corner of the world.

The time since has seen a series of projects come to life both collectively and individually: 2019’s ambient, yoga-and-meditation-friendly album Flow State, streamed over 400 million times worldwide; a series of club ready instrumentals under the Tranquility Base moniker; radio records ‘See The End’, ‘Over Now’ and ‘Crazy Love’. In the meantime, the band embarked on personal projects outside of the Above & Beyond framework. Grant collaborated with long time friend Daren Tate on 2022’s self-titled synthwave JODA album. In 2023 Siljamäki, reprised his P.O.S. alias, releasing dance floor focussed album Deeper Tales. Last year, McGuinness dug in his own crates for Salt, an album based on a studio-freshened selection of emotional singer-songwriter compositions originally written as the ’90s rave and Britpop fever-dreams faded. A worldwide touring schedule, their weekly Group Therapy radio show, and overseeing a family of iconic dance labels, Anjunabeats, Anjunadeep and, most recently, Anjunachill – it’s never quiet in the world of Above & Beyond.

Odessey One is probably one of the hottest, most appreciated and sought-after bands when it comes to caribbean funky Disco and Boogie music from Trinidad and Tobago.
These super talented musicians recorded a few incredibly good grooves in the Caribbean Sound Studio in the early 80s, which were long considered lost or very hard to find.
It was a bunch of friends around the composer, guitarist and singer Arnold Shuffler, like Nicholas Rostant, Carla Fauche and Colleen Grant, who came together in Port of Spain for a few jam sessions as a studioband.
Only a handful of vinyl copies were pressed from the tapes at KH studios pressing plant, which did not have much airplay at the time.
Sound Essence is more than happy about a renewed collaboration with mastermind Arnold Shuffler and to present this soulful island, disco, boogie synth funk to the music-lovers
community worldwide!

Celebrated producer Tom Sharkett recently took it upon himself to do his own edit of LCD Soundsystem's ‘Home’, reworking the classic cut from 2010’s This Is Happening purely out of love for the track and LCD Soundsystem.

Sitting quietly online, Sharkett’s edit caught the attention of Flo Dill, Breakfast Show DJ on NTS Radio who played the track twice in one show.

This then caught the attention of the band and it wormed its way into their hearts and never left. As a result they felt there was only one thing they could do - make it official.

Ltd. Boxset White Vinyl


Zum 20-jährigen Jubiläum ihres ikonischen Debütalbums Silent Alarm veröffentlichen Bloc Party drei limitierte Jubiläumsformate: eine 2LP auf weißem Vinyl mit dem original Album, eine 2CD Edition mit dem original Album und Bonus Discs, welche Demos, B-Sides und eine BBC Peel Session beinhalten. Außerdem ist ein 12-seitiges Booklet inkl. Lines Notes und einem Vorwort von Produzent Paul Epworth. Die Deluxe-Box umfasst alle oben erwähnte als 4LP Set. 2LP für das original Album und 2LP für die Bonustracks und Raritäten sowie Demos und Sessions. Wobei es hier ein 24-seitiges Booklet mit noch nie veröffentlichten Fotos der Band und exklusive Liner-Notes gibt. Ein Muss für Fans und Sammler gleichermaßen.
White Vinyl





















u b2 She’s Hearing Voices Original Version

Exit were a five-piece ensemble of journeymen musicians from the lone star state of Texas who came together in the early 1980’s to record a handful of popular local 45’s including two Football-mania songs. The groups line-up consisted of lead guitarist and vocalist Clennis High, rhythm guitarist Lonnie Jones, his brother Johnny K. Jones the groups keyboardist, bassist Frank Houston Jr and George Oliver on Drums.

Clennis High, a promising Football player with a flair for playing the guitar began his early musical career while attending Wheatley High school. Aged 17, Clennis played on several Crazy Cajun, Huey P Meaux’s recording sessions for Eugene Gamble and Barbara Lynn. Further recording sessions on Roy Head followed before he accepted an invitation by his neighborhood friend Willie Parnell to play alongside a group of fellow students in a band called ‘The Drells’. ‘The Drells’ had been founded by Archie Bell in 1966 pulling together neighborhood friends James Wise, base singer Cornelius Fuller, Billy Butler, Willie Parnell joined later by Archie’s brother Lee Bell. Clennis would play with ‘Archie & The Drells’ through their time on Skipper Lee Frazier’s Ovide label often accompanied by the ‘Texas Southern University Toronadoes’ where they scored a hit with the dance instruction song “Tighten Up” which on the strength of Atlantic Records picked the group up. Clennis played on all 3 of the Drells studio albums “Tighten Up”, “I Can’t Stop Dancing” and There’s Gonna Be A Showdown” under Gamble and Huff’s tutelage before quitting to return home to complete his degree. He continued to play with several local Houston bands including the Cold Four who recorded the sort after “Love And Care/Low Riden” (Drells).

Clennis later formed ‘The Reality Band’ with his friend Jerald Grey which introduced him to George Oliver and Frank Houston Jr. Occasionally ‘The Reality Band’ played with other groups, one group in particular (which Jerald previously knew) being an outfit from Conroe, Texas called the ’58 Engineers.

‘The 58 Engineers’ were founded by Johnny and Lonnie Jones, taking their name from the Army unit Johnny served with during his time in the service. By 1973 having grown to 8 members the group entered the studio to record the highly collectable and popular funk outing “The Funky Fly (Part1 & 2)” on their own Bryant Records label (Bryant being the Jones brother’s mother’s maiden name).

As members of the ‘58 Engineers’ moved on, the Jones brothers found themselves working more and more with the ‘Reality Band’ so when Jerald Grey too later moved on the remaining ‘Reality Band’ members Clennis, George and Frank having grown fond of the two “Country Brothers from Conroe” as they affectionally called the Jones’s made the decision to continue working with them, which led to the foundation of the group, Exit.

During 1980 the recently formed Exit recorded the first of their two Football -mania songs but it is from the groups 1981 release “Success/One More Hour” (Dat-Tex 105) that Soul Junction have taken the splendid ballad “One More Hour” to pair with the flipside of the groups third release “The Little Green Monster” (Dal-Tex 106) which is now highly regarded and sort after by sweet soul/lowrider connoisseurs alike. Both of these songs have been put back-to-back to feature on Soul Junction’s forthcoming September 45 release.

Today, Manchester’s Maruja announce their highly anticipated debut album ‘Pain to Power’, due for release by Music For Nations on 12th September and produced by Samuel W Jones, who the band worked with on their three EPs to date. The extraordinary eight track collection not only confirms the four piece as a creative force of nature but finds a deeply emotional and empathetic band concerned primarily with the power of community, both in the nuclear sense, as a tight knit creative unit, but also as a wider force for social and political change in the age of the individual.

Maruja believe passionately in the ability of art to empower, heal and unite and have created a body of work with ‘Pain to Power’ that they hope will offer both strength and an emotional release to anyone who is struggling with the impact of years of political turmoil and social isolation.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Own a piece of OceanLab history. Celebrating the legacy of one of dance music’s most timeless acts, Above & Beyond and Justine Suissa present ‘OceanLab: The Anthology’, a limited edition vinyl box set available for pre-order now exclusively on Anjunabeats. Fifteen years after the release of their critically acclaimed 2008 LP, ‘Sirens of the Sea,’ the Anthology box set spans the full spectrum of the OceanLab sound, from early 2000s vocal trance classics to brand new remixes and never-before-heard acoustic reworks. Housed in a premium-quality fabric-wrapped double slipcase with foil detailing, the box features four 12” single discs on crystal clear vinyl, a 10” ‘Another Chance’ single disc, and a special Anthology-edition repress of the original ‘Sirens of the Sea’ album. There is also an accompanying poster print, slipmat, and 28-page perfect-bound book containing notes from the band, never-before-seen photos, and exclusive sheet music arrangements with piano, guitar, and voice parts.

A compilation of rare and unique pop songs sung in Okinawa's unique musical scale with rock and soul grooves. It is based on “Ryukyu Rare Groove” released in 2003 and its sequel “Ryukyu Rare Groove 2” in 2006. This is a renewed version of those two albums, with more carefully selected and new songs included.

The Yara Families, the symbol of this series, as well as songs by Shokichi Kina, the originator of Okinawan folk rock, Mitsuko Sawamura, who made a breakthrough from Okinawa into American musical films, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a topic of conversation, The album contains 14 precious tropical groove songs. A renewed version of “Ryukyu Rare Groove” is now available in analog format!

The compilation “Ryukyu Rare Groove” became a hot topic as many people became addicted to its unique groove, which was created by applying Western arrangements to Okinawan scales and traditional Okinawan music. Ryukyu Rare Groove Revisited” is now available in analog format.
It features 14 precious tropical grooves, including not only the iconic Yara Families from this series, but also songs by Shokichi Kina, the originator of island song rock, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a hot topic.
Ryukyu Rare Groove Crossover,” a selection of jazz arrangements of Okinawan melodies and folk songs, was also released simultaneously, featuring MURO selection
‘Diggers Dozen’ and Kiyoshi Yamaya's Okinawan folk song Jazz Funk, which was featured on the ‘Ryukyu’ 7-inch from Tropic Night Records. and other instrumentals,

including Latin big band jazz by Naoteru Misuna and the Tokyo Cuban Boys.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.