Cerca:twist

After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale’s drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam’s dense layers were designed to provoke and inflame; listen closely to fully decode.

Snuff Trax is back on wax! After a loooooong forced break full of exhausting twists and turns, we finally can go on with our little label.

We are so grateful and glad that most artists kept waiting with us, even if it took some years to come back. Now we are super excited to bring you Snuff Trax 20, the „Twilight E.P.“ by our dear friend and long-time supporter Moralez, including dope remixes by the great Etcher.

Those 5 house music and acid house gems will be released on vinyl only, limited to 100 copies, distributed by Melting Pot Records from Madrid. Better be quick!

Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. “Sabroso Go Go” brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. At the end of the fifties, rock music shook the foundations of Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo's orchestra took up the mantle and reinterpreted a well-known guaracha by Celia Cruz ('Rock and Roll') in mambo style, renaming it 'Rock and roll Mambo'. 'Maestro de Rock and Roll', a hit by the Cuban Conjunto Casino, received similar treatment. Another mix in this vein is the rock tune 'El Rock de los Chinos' by the Mexican Manolo Muñoz (author of 'Speedy González') recorded by the Chilean Choche Mérida for MAG in 1961. The following year, Chubby Checker’s 'The Twist' hit the scene and was immediately fused with guaracha by maestro Nelson Ferreyra. A legendary MAG musician, Carlos Pickling, composed 'La Charanga del Espacio' in 1963. The space sounds are produced by Pickling and his inseparable Hammond. He himself is the one who leads the orchestra that accompanies Benny Del Solar, Lita Branda and Pablo "Melcochita" Villanueva in the tropicalized version of Spanish Rumba, when the beats of the Iberian rumba were still exotic in South America. Around that time, the Chilean Willy Marambio was already living in Lima. In the track included on this album, the go-go style showcases his virtuosity on the trumpet. Another outstanding trumpet player, Roberto "Tito" Chicoma from Chiclayo, played as a session musician with MAG from 1959. A few years later, he became one of the most popular Colombian cumbia players, a talent he demonstrates in the song on this compilation, which blends the fun of go-go with yé-yé beats. 'Batijugando' was a hit from Mexico and was played in all the rhythms played across the Hispanic world since 1967. Inspired by the "Batman" series, it was performed at MAG by the Betico Salas orchestra, with vocals by the Panamanian lady crooner Nallye Fernández. 'Computador Electrónico' is another surprise on this album, performed by Panamanian vocalist Patty Pastel, it is the only known version in Spanish of 'Der Computer Nr. 3', originally sung in German by France Gall. Two other songs feature Edgar Zamudio. The versatility of Zamudio y Los Vikingos (originally a Chilean group) is demonstrated in the guitar-heavy song composed specifically for the late sixties skate fashion ('Go Go en Patines') and in his idiosyncratic protest song ('Día de Pago') performed in beat style. In the mid-seventies, Los Kintos, led by guitarist Francisco Acosta, developed different harmonic ideas in an instrumental track that veers from boogaloo to salsa, the fashionable rhythm of the day. Finally, in 1976, when the bumping hips dance craze swept the continent, Manuel Guerrero was quick to jump onto the bandwagon, composing a Bump song, together with his son Carlos. The Italian musician based in Lima, Luciano Luciani performed the song 'A Bailar Bump' backed by his band of local musicians Los Mulatos.

After the success of their previous "Get Mine/I'm Gone" 7" vinyl 45 release LRK Records is proud to announce the digital single follow up by Bella Brown & The Jealous Lovers!!

Bella Brown & The Jealous Lovers are a Los Angeles based, transplanted fromChicago, unit that specializes in 60s/70s soul and funk. The band is fronted by the dynamically charismatic Bella Brown. A fiery female lead singer that is a mixture of Tina Turner and Sharon Jones, with a persona that is reminiscent of the empowered female
leads of 70s Blaxploitation films. Backed by the musicianship of The Jealous Lovers they form a unit that expertly expresses a uniquely modern interpretation of the traditionalsoul and funk genres.

Their new single "What Will You Leave Behind" exemplifies this
ideal. The track is a heartfelt call to action in these times of failed humanity and injustice. A Motown influenced message of hope that features sympathetic vocals, supportive horns, and a funky twist that asks us to create a better future by considering the effects of our present.

Look for "What Will You Leave Behind" March 3rd, 2023 on all streaming platforms, and stay tuned for an announcement from LRK Records regarding "What Will You Leave Behind" and a future Bella Brown & The Jealous Lovers 7" vinyl 45 released!

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

Breakbeat Paradise Recordings has teamed up with hip-hop legend Paul Sitter who has gather some of dopest MCs on the planet to feature on the epic LP: Hip-Hip Delivery.

The LP is a celebration to the oldskool hiphop vibes that started it all by cutting and scratching up the classic funk record, twisted in a brand-new way with MCs from around the world dropping fire on the mic.

Starting out with the intoxicating Global Chremistry with Craig G and some big funky grooves. Moving on to the Go Move featuring the awesome Andy Cooper on a smooth boom bap joint. The classic Wild Thing gets a oldskool hiphop twist with some big rhymes by Birdapres and cuts by DJ Robert Smith. The breaks are about to get serious as Chromedrops some high paced rhymes on the Who's Nice Kid track. Finally the A-Side finishes up paying some respect to some of the classics beat and breaks from the early hip days on the King Of Rock jam.


The flip side kicks off with more groovy, soulful hip hop featuring Andy Cooper on the catchy Chasing the Funk. Paul Sitter breaks is down nice on another slick hip hop anthem B-Boy Impressions before letting Dr Syntax take it over on the mic on the It's On Like That jam.

The last 3 joints on the album lets Paul Sitter get busy on some funky hip-hop creations showcasing his classic breakbeats and heavy sample techniques.


Breakbeat Paradise Recordings' first full album release since 2019 to drop on 12" vinyl but with an instant classic release like this we felt there was no other way to do it.

“Are we having fun yet? Living in the grey zone”? The Toads ask the question and already know the answer. There’s many a wry smile, often packed with gallows humour, shared on the Melbourne groups’ debut album “In the Wilderness” (out June 9th on Anti Fade and Upset The Rhythm). Navigating the dross of modern life, whilst keeping one foot in a dream is the key to their nervy post-punk scuffle. Featuring members of The Shifters, The Living Eyes and Parsnip you’d be forgiven for guessing what The Toads sound like, but their mordant step and minor-key enchantment makes for an intriguing parry.
The Toads hatched after a short period of domestic readjustment mid-2021. Billy Gardner (guitar) found himself in need of a roof after his home was consumed by fire, and was kindly hosted by friend Stella Rennex (bass). Elsie Retter (drums) was a regular visitor to the house and after seeing Miles Jansen (vocals) tear it up with his other band at the local bowls club, they invited him along to sprinkle his deadpan musings across their fledgling sound. Pretty quickly they hit on their direction; a savvy, snappy lo-fi pop as openhearted as it is brooding.
After playing some formative shows, including a debut at Jerkfest in 2022, The Toads set about recording five songs mid-year for a tentative EP. Realising the songs were too long to fit on a 7”, they booked in another recording session the following September to extend the EP to 12”. Two tracks’ chords structures were fleshed out with new melodies and arrangements, and by this point The Toads were surprised to find they had an album’s worth of material. ‘In The Wilderness’ is a beguiling record, full of twists and turns. It’s arch, resilient, thoughtful and straight-at-your-head catchy to boot.

It’s fitting that the title track “In The Wilderness” draws this record to a close, being the peak of their invention so far. Drums pound and tumbling bass-lines sprint among the crisply stabbing guitar phrases and soaring horns outro. It’s a survivalist epic of hard-worn wisdom, ambling and restless. “I open up the door trying to get all of us through” sings Miles, becoming progressively more dizzy and despondent. There is a sense of toughing it out that never falters though and this is the essence of what The Toads do best. They push onwards into the darkness and keep their appetite, pulling us all into the light.

Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

Few bands have as enduring a legacy in the acoustic/newgrass/jam band
scene as Colorado-based Leftover Salmon
Carrying the torch passed down by the progressive bluegrass pioneers, The
Seldom Scene and Newgrass Revival, Leftover Salmon are true architects of the
contemporary jam grass scene, inspiring the careers of a generation of artists
including Billy Strings, Greensky Bluegrass and Yonder Mountain String Band.On
'Grass Roots', Leftover Salmon reflect on its bluegrass and festival campground
origins with a set of songs that draws from the repertoires that The Salmon
Heads and The Left Hand String Band played when they first jammed in a
Telluride Bluegrass Festival campground. Collaborating with jam scene icons Billy
Strings, Oliver Wood, and Darol Anger, and with the recent addition of Jay Starling
on resophonic guitar, lap steel and keys to the band's official line, Leftover Salmon
have all the instrumental firepower needed to deliver hard driving versions of
bluegrass standards and grassed- up versions of songs from Bob Dylan, David
Bromberg, and The Grateful Dead.
Featuring special guests BILLY STRINGS, OLIVER WOOD and DAROL ANGER

The highly esteemed, A7 Edits lines up Volume 6 in their much sought after, official edits series. Four feel good dancefloor re-works of obscure Afro-disco gems, plucked from the extensive Africa Seven vaults.

Opening up the EP, John Talabot & Pional take on Cameroon’s Ekambi Brillant giving a deep electronic twist to ‘Afrika Afrika’ before Ghana’s Gyedu Blay Ambolley gets his disco funk heater ‘Highlife’ re-edited by Alan Dixon.

On the B, another double dose of Cameroonian cuts, as Jacques Renault breathes new life into the jazz funk joint from Michael Amara - New Bell and Pasteur Lappe’s standout hit ‘Na Real Sekele Fo Ya’ gets a housed up edit from Escapade.

Names You Can Trust presents the second release in their "Panama Gold Series" and the first official reissue of one of the heaviest holy grails to come out of the isthmus, the Jungle Rat USA. This impossibly rare 45 was originally issued in 1971 as a promotional 7-inch on the independent imprint Discos Nino. Its origin story has remained utterly elusive and unknown — until now. The newly remastered press contains both original sides: the raw funk masterpiece "Just Love One Another," and "Have a Little Faith," one of the finest old school examples of the coveted souldies style that has taken the modern day record world by storm. Licensed and researched with the help of the Jungle Rat's musical director Dwight Brewster, this deluxe reissue includes a lush 10-page photo booklet with liner notes, detailing the full account of the twists and turns of Brewster and his band's journey from New York City to Panama.

As the siren’s song echoes out of systems worldwide, perhaps we are (re)turning to the liquid age of dance; with natural ephemera such as moss, sentiments for ecology such as swamps, and mercurial aspects of water all absorbing the aesthetic forefront. A return to nature, a deep dive under the lily pads. Here Marijn with her debut EP guides our plunge, a trip previously taken via her podcasts on Kulture Lab, where you can also find her previously released music.

Whispers from the ethereal plane drift around the headspace, a rumble in the distance of sound traversing the water, voices to guide and to keep you from floating too far from the line. Audio hallucinations are aplenty when submerged, a serenity of space, yet distant growls assure that peace is not always 2 be found. The melancholia within the daydream, the pang of loss caught in reflections, internal and from the water, with the lily pads floating above as a guiding entity, an anchor, something to hold. Under the lily pads we rumble.

On the flip everyone’s fav casual breaks n rave hooligan Luca Lozano asks the recurring thought within dance music, a question we quest, yet rarely want the answer. Abstraction via squeaks and tweaks, you better bop your bleepin’ head to this 1.

‘Leave A Message’ leaves the tranquil waters disturbed and rippling to the outer edges, providing jumps for the lily pads to ride on the incoming tide, with the ebb and flow making way for a storm surge. Aka big beats are the best, a notion the directly honest final track ‘Made (Drums)’ follows, bringing a twisted jack attack logic to a deranged assembly of samples, a manic orchestra of tumbling drums who have conspired to freak out, albeit with cute bubbles underneath to revel in the allure of sonic mania.

Over the last few years, Bristol born, London based artist LCY has become one of the guiding lights in a scene of fans who like their club music deep, dark and with a heavy dose of rhythm. Releasing predominantly on their own label SZNS7N, LCY has transcended musical boundaries, taking from a wide range of musical influences to create their own fluid hybrid style that indulges the deepest desires of those who chase a visceral dancefloor response - uplifting a huge amount of unconventional producers alongside them in the process. Today marks the announcement of their first release on fabric Originals, the flagship label from global club imprint fabric, alongside a new single, ‘Bad Blood’.

Opening to a stark cascade of sonic shards and mechanised vocal chops, ‘Bad Blood’ descends into a sparse percussive workout. The track expertly makes use of space in its composition, stripping down its raw elements to reveal a beat that’s purpose built for sweat. Using glitching elements to find new elements of intricacy within its drum programming, LCY inexplicably creates a composition that’s wholly inviting despite its ominous sound - with even the track’s more human elements twisted to sound like they’re from an outer realm.

Proud to announce "Dizzy Dizzy Dizzy" on our RX - Series in November (if the Vinyl God will speed up things) on solid 180 Gramm vinyl.

Red Vinyl

Proud to announce "Dizzy Dizzy Dizzy" on our RX - Series in November (if the Vinyl God will speed up things) on solid 180 Gramm vinyl.

Sylvie Vartan's most wonderful songs beautifully remastered by Mr. Nick Robbins at Sound Mastering... Super cute, lovely, yet Rock n Roll artwork by Mr. Allan NoMan

Detailed liner notes by M.Jean-Emmanuel Deluxe, author of the acclaimed, beautiful, and definitive book "Ye-Ye Girls of '60s French Pop"

Imagine..if you will...a world in which your dearest chic girl pop singer guests a couple of humour records, goes on to have hit after hit, is all over TV and media, with the coolest radio shows and magazines for youngsters being almost fanzines for her. Then she gets her own TV shows and um, marries Elvis, and does a multi-night stand at the Paris Olympia where The Beatles are supporting HER! That world existed, it was early 1960s France, a marvellous, self contained world of music, film and art, where Vince Taylor was not a weird guy in leather pants who never really clicked with the kids,but the major star he was in his own head! And..Well, obviously, it wasn't really Elvis, but the French-World analogue Johnny Hallyday (handsome, good hair, and a great dancer!), so..in France it WAS!... But the hits? The TV shows? And the magazines and radio? Yes! Those really happened....and The Beatles did support her (and it was a big and lucky night in their career!)...Now, don't you wish we were there, in that world? A bizarro technicolor mix of....I don't know, Viva Las Vegas/HELP!/Les Demoiselles de Rochefort? I certainly do...or maybe pop this record on and let's pretend? Oh, I think so, yes...

First time reissue of mega rare 1972 psych-folk album from Venezuela.
180g LP.
One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album.

A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients —such as the use of sitar sounds— recorded by the collective of artists “Una Luz”, and “El Zigui” who was once described as the local Bob Dylan.

The late ‘60s was a short period of time, long enough to turn the world upside down.

Music, paying attention to the ancient Greeks who said that changes in society are also reflected in it, also undergoes violent transformations in its structure. The turbulent joy of rock and roll and twist gives way to the meditative sounds of the waves of the sea contained in surf to finally welcome music of soft and delicate harmonies with songs full of references in their lyrics to the state of society and their relationships with the environment.

On the other hand, in Venezuela, although the expansive wave of May 68 had not reached it, a certain degree of dissatisfaction began to be perceived, especially through the music of a singer-songwriter from the countryside of Venezuela known as Ali Primera, El Cantor del Pueblo. Thanks to a scholarship from the German government, he studied for a few years in that country, and it was there that he recorded his first album, with songs whose lyrics reflect the essence of authors such as Bob Dylan and Atahualpa Yupanqui. And Ali Primera becomes one of the greatest influences of our artist: El Zigui.

Guillermo Sánchez Corao —known as El Zigui for some strange reason— was born in the Venezuelan city of Maracay, capital of the State of Aragua, on January 13, 1948. From a very young age he began to study guitar playing and, already in his teens, we can find him as part of the duo El Zigui & Franklin together with Franklin Laudelino Mejías, another young man with a great musical pedigree.

It is during his bohemian phase as a troubadour, in the surroundings of the Ateneo de Caracas, when his music caught the attention of producer Mario Tepedino, the most important youth music producer at the time. Mario takes him to his TV show “2001 Juvenil”. With the incorporation of other musicians such as Rubén "Micho" Correa —who would later become a great arranger and record producer— he created the group El Zigui y Una Luz, which would later be joined by musicians such as Carlos "Nene" Quintero and Alfredo Padilla, members of the amazing Grupo Pan. Later on, another outstanding singer would also join Una Luz: Guillermo Carrasco.

With this formation they made it into a recording studio in 1972 where they managed to record, in just 30 hours, a long-playing album of which only 60 copies were pressed and has therefore gained cult status among collectors. As expected, the strong content of the lyrics was not supported by the media, making the promotion of the album impossible to accomplish. However, it was with the help of Mario Tepedino that they made it to television, with appearances on “2001 Juvenil” and “Antesala Lunar”, a show that was especially produced for the broadcast of the arrival of man on the Moon.

That was probably one of the main reasons for El Zigui to move to Canada and then France until 1978 when he returns to Venezuela. He would then join bands like Xabañón, Fogón and De Vuelta al Futuro, a 12-member super group. The former members of Una Luz had become well known musicians in the country, especially Guillermo Carrasco who was one of the greatest ballad artists in the ‘80s and targeted by the biggest record companies at the time. El Zigui died in a traffic accident on June 22, 1999. If he had lived through these crazy times... where would he have gone?

Repress!

There are techno classics, and there are techno classics! It’s without doubt that Joey Beltram has played a pivotal role in the growth of the techno sound that gestated in Detroit and was lapped up in Europe during those early years. Beltram spearheaded a darker sound that became a staple in the UK and European rave scene in the early 90s, and a sound that continues to come back around for revival and a new twist on the genre from the producers and DJs of the day.

‘Beltram Volume 2’ was first released on R&S Records in 1991, and despite the huge success of the ‘Energy Flash’ single, released a year prior, ‘Volume 2’, some say, is ‘Beltram’s definitive release on R&S’. Deep, dark and deliciously hypnotic, all four cuts on this EP still sound as raw and devastating 30 years later. Big tunes at seminal clubs like Rage (Fabio & Grooverider) and the network of UK raves soundtracked by the likes of Carl Cox, Colin Faver, Eddie Richards et al, Beltram’s unique sound help spawn the bass heavy drum & bass genre that was also burgeoning at the time.

‘Beltram Volume 2’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1991 packaging featuring Christel Brodahl’s now legendary oil painting.

‘Beltram Volume 2’ by Joey Beltram is available on R&S Records from 9th December 2022.

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.

Pinky Perzelle, aka Sonny Rooney's debut 'No Games' featuring Eda Eren, is a true labour of love and an ode to his total passion and dedication to multi instrumental record creation without compromise. Almost every instrument was recorded and played by Perzelle at his home studio. Featuring the utterly unique, impassioned and reassuring vocals of British-Turkish artist, Eda Eren, and additional drums from world renowned Malcolm Catto (The Heliocentrics). The lead track is a timeless, heartfelt, funk-ladened portal into a world reminiscent of a cinematic movie scene or an undiscovered gem from another era all-together. The hypnotic 'Remix' from Velvet Season & The Hearts Of Gold aka Gerry Rooney & Joel Martin, introduces subtle electronica and dubbed out instrumentation. A true lesson in after hours, left-field Balearica. Pinky's own 'Electronic Mix' references early house music and broken-beat electronic drums. Showing yet another side of Perzelle's approach to music making.

DJ Feedback

Gilles Peterson:
"Great stuff! Loving the Turkish twist on No Games. Whoooop!"

Dj Harvey:
"Definitely a jam I’ll play in Ibiza for my summer season!"

Francios K:
"I have the Original Mix and love it!"

Tim Sweeney (Beats in space):
"Great job with this. Definitely supporting! Added to BIS playlist."

Colleen Cosmo Murphy (WWFM):
"Now here’s a great new song. A debut song from Pinky Perzelle aka Sonny Rooney. Also a great remix from Velvet Season & The Hearts Of Gold!"

Charlie Bones (Do You):
"Dangerously sexy."

Apiento (Test Pressing):
"A killer song put together with an overall vision from someone that knows where they want to be. An artist to watch. Respect."

Nancy Noise:
"I haven’t stopped listening to it! I mean it! Well done!"

Laurent Garnier:
"Playlisting Original Mix on PBB Radio. Thanks a lot!"

Luke Howard (Horse Meat Disco):
"Bravo, great job. Keep up the good work. Always happy to hear real music with new melodies and ideas!"

Leo Mas:
"Pinky’s Electronic Mix’ is great! Great job, bravo!"

Ashley Beedle:
"I’ll be putting this in August’s show. Sounds wicked."

Jonny Rock:
"This is great! Intense emotion dancefloor bomb! Big up the Perzelle."

Mehmet Aslan:
"Nice ones, I like! Added to Spotify ‘Track ID’s’ playlist."

CC Disco:
"Sick release! Was not what I was expecting. Even better!"

Patrizio Cavaliere (Mixmag Asia):
"A sublime statement of intent."

The Last Days of Gravity is Younger Brother’s second studio album and is an epic journey through sound manipulation.

Not available on vinyl since 2007.

Now remastered and recut. Heavy Weight 180 gram vinyl

Sometimes I sink into the dark side of life,
Lucky me to have music to pull me back into the light” Kutiman

Following on from his critically acclaimed Open LP released in October, revered polymath Kutiman returns to Siyal Music with his Dense EP. Kutiman continues to push forward with developing his sound as we see the artist creating his first ever electric leaning release. Not the only first, as the haunting vocals layered throughout are a result of Kutiman debuting his very own voice. Kutiman pulls elements from various musical inspirations, be it moody electronica, garage and 2step, modern classical music, ambient or twisted r'n'b. The outcome is a unique, cutting edge blend of emotional pitched down vocals, melodic airy pianos and glitching sound effects.

“This EP expresses emotions from a dark period that I went through. At the time I was into dark electronics and also found inspiration from Rhythm and Sound, Burial, The Blaze, Plasticman and more. The EP all started from a little "Volca" drum machine, which I hooked up and set up a mostly analogue setup around it with some synths and drum machines that enabled me to "jam" a lot of the music without the need to stop for overdubbing or editing”. Kutiman

With an illustrious career spanning over a decade, Ophir Kutiel aka Kutiman moved to Tel Aviv as a teenager to study jazz at the prestigious Rimon music college. It was during this time that he was able to immerse himself in music, with influences cited as Massive Attack, DJ Shadow, Amon Tobin and Parliament. Fast forward to 2007 and his self-titled debut album received a 8.2 rating from Pitchfork and set the precedent for what was to come. Other tastemakers to highlight over the years include; The Guardian, Billboard, The New Yorker, The Wire, Uncut and XLR8R among others. Kutiman is forever pushing boundaries with his music, and draws on a range of world influences from spiritual jazz to psychedelic funk. ‘Dense EP’ sees Kutiman adding yet another string to his musical bow, as we enter the era of electronic inspired music.

Dutch progressive Death Metal legends Phlebotomized at the peak of their 30 year old career!

Phlebotomized is among the oldest Death Metal bands from Holland and one of the first using violin and synthesizers in extreme metal. Their typical “Death Metal with a twist” caused a stir in the booming Dutch metal scene back in the early 90’s. Formed in 1989, Phlebotomized started out as a Grindcore/Death Metal band,
inspired by acts like Morbid Angel, Nocturnus and Paradise Lost. Later on, the band began to use keyboard and violin arrangements, resulting in their unique sound. Their “Devoted to God” demo (1992) was recognized as a classic one demo worldwide. In 1994 Phlebotomized released their seminal “Immense Intense Suspense” album which offered an intelligent blend of atmosphere and brutality. It took the Death Metal scene by storm, giving both the band and the album a legendary Cult status worldwide.

The band played numerous shows but disbanded shortly after the release of their second full-length album “Skycontact” in 1997.

After a hibernation of 16 years, Phlebotomized regrouped in 2013 upon the re-release of their classic albums. The band played several live-shows and

Nusantara Beat, the six-piece band hailing from Amsterdam, is quickly becoming a must-see act. With a deep connection to their Indonesian roots and a passion for honoring their cultural heritage, Nusantara Beat brings a fresh and modern take on traditional Indonesian music.

Nusantara Beat creates a unique sound that blends traditional Indonesian songs from the 20th century with their own style and creativity. The result is a mesmerising mix of tropical and mystical sounds that take the audience on a journey to the land of their ancestors.

But Nusantara Beat isn't just about honoring tradition. They also strive to showcase the rich diversity of Indonesian music and take it into the future. With their music, they pay tribute to traditional sounds while bringing their own innovative twists to the mix.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This first in the series pays homage to the style of music heard in the Oblivion releases that Source Direct delivered through Bassment Phil’s Street Beats imprint between 1995 & 1996.

Forbidden Affections is a classic Deep Amen track, made with tracks like Sands Of Time and Secret Liaison very much in mind. Right from the onset where the pads are given plenty of time and space to draw you in, it is completely faithful to that mid-90’s SD style. All the trademark break switches and deep 909 sub lines are present, and the palette of sounds are all drawn from those same sources that first inspired the SD sound (as such it is Atmospheric Jungle with a strong Techno persuasion). The finishing touches come from the achingly gorgeous female vocal ad-libs that were also such a trademark of the early, more atmospheric SD tracks.

Hidden Rooms is perhaps even more authentically SD, especially with its focus on arrangement, and the way it uses the selection of samples that are once more drawn from those same Deep Techno sources. The interaction between the rolling curls and cuts of the Apache at the start, and the crisp injection of the Think breaks at the drop comes straight out of the early SD portfolio. The bass drops down super deep underneath the drum work, punctuated by exposed electro hits and well-chosen samples. It is the haunting keys nearly 4 minutes in however that give this track the authentic SD twist more than anything, calling tracks like Fabric Of Space and Made Up Sound very much to mind.

Drifting Through is the final track of the E.P. with its beautifully sharp rolling Hotpants/Worm combination. This track leaves plenty of space; dubbed out to just breaks and bass for much of the duration, with the occasional injection of an obscure electronic sample, or the sweet vocal ad- libs to hold the tune together. Further down the track there is a touch of the Jazz influence as the Rhodes chords add an extra level of harmonic warmth.

Look out for Volume II where we will be returning to the distinctive flavours of the original Mirage releases on Odysee!

"As I write these notes sitting on my balcony in July 2022, it has been more than 9 years since the release of my debut album and more than 11years since it was recorded, the time since has been a personally tumultuous period of twists and turns - retreat, reflection, realization, reassessment, therapy, triumph, trial and error - entangled in a decade-long creative block that had me questioning whether
I would ever be able to compose again and though I felt there was so much I wanted and needed to say, I felt I had lost my voice, or perhaps never had one in the first place. A constant knot had grown tighter and tighter within me over time, but I did not understand what had created it or how it might be undone. In 2018, shaken awake by the collision of two transients, I suddenly saw in a new light old
patterns whose familiar presences I realized I had felt for much of my life, but had until then never seen for what they were. Following a third, I finally found the humility to surrender, and as I began re- examining and confronting myself, I slowly started to discover new answers - and new questions to ask.

Then the Covid-19 pandemic happened, and the world stopped. Like so many of us caught in the new eerie calm, I retreated into inner spaces. I began revisiting sketches of ideas I had accumulated over the years, and finally, very, very slowly, new music started to come. " - Jussi Reijonen.

"Electrifying and deeply resonant, monumental and profoundly personal, Reijonen's five- movement suite is a beautifully crafted, remarkable journey of sound and emotion performed by a knockout nine-piece ensemble." - Monarch

"He's written one hell of a piece." - The Arts Fuse

"On this remarkable and ambitious new recording, Reijonen delivers an epic transcultural suite that feels as deeply personal as it is expansive and farreaching." - All About Jazz "a remarkable sophomore album" -The Boston Globe

"This is an album meticulously pulled together into a dense fabric of diverse musical threads. It merits repeated listening; with each fresh listen, the richness of Reijonen's intercultural vocabulary becomes more apparent." London Jazz News

"Even in our present jazz moment, when the art form is worldwide and vital, albums that come as complete surprises are relatively rare. Three seconds Kolme Toista is a stunner." Jazz Times

"Three seconds Kolme Toista is spellbinding from beginning to end, and full of virtuoso performances." All About Jazz

Blending elements of twisted electro with the refreshing sound of early 90's rave culture and IDM on the highly anticipated debut album from Breton artist Voiron (a precious gem in the French underground scene). 'Ingenieur du Son' features 12 bold tracks in Voiron's unique style which is evident in every piece. Uncompromising in his approach, Voiron stays true to his vision without being swayed by external influences. From light and upbeat dancefloor tracks to experimental "idm" sounds, Voiron is for everyone... Embark for Voironland! (But don't hesitate to long as the vinyl release is limited!!) (Artwork by Acid Hazel, Berlin). Tip!!

Introducing the highly anticipated EP from the legendary Aston, of the Freestylers, Blapps Posse, and Rap & Aston. This time, he has teamed up with the talented DJ Quicklung to create four brand new tracks, each showcasing Aston's impeccable production skills and style.

The EP opens with "Raggamuffin Soldiers," a hard-hitting D&B track with classic influences that has already gained significant support across clubs and radio. Next up is "Moving On," a lively club roller that clearly showcases Aston's foundations and rave pedigree.

On the flip side, "Galactica" takes things in a darker direction with moody D&B vibes that pay homage to classic Suburban Base and Boogie Times, but with a fresh twist that's unmistakably 2023. Finally, "The Hangman" closes out the EP with a stunning breakbeat masterpiece that will leave listeners wanting more.

With its diverse range of sounds and styles, this EP is a testament to Aston's enduring talent and influence in the world of electronic music. Don't miss out on this incredible release!

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

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

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

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

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

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

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

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

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

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

New signing to Xtra Mile Recordings - Hannah Rose Platt releases her new album 'Deathbed Confessions' on 19th May 2023. 'Deathbed Confessions' is a concept album inspired by classic horror, Rod Serling’s ‘The Twilight Zone’, BBC’s ‘Inside No 9’ and Samuel Pepys’s ‘Balladeer’ and is produced by Ed Harcourt. Available digitally, CD and beautiful gold vinyl, gatefold sleeve with special A3 Print of cover art. 'Deathbed Confessions' is an eclectic collection - sure to intrigue, disturb, and pull on the heartstrings of any listener. A collection of haunting vignettes linked through polarised themes of death, love, the afterlife, murder, regret, the uncanny, and bizarre… “Deathbed Confessions” boasts a wide dynamic curve, featuring the luscious swells of the Budapest Film Orchestra on ‘Inventing the Stars’, Harcourt’s signature piano playing and vocals (featured on the sea-shanty duet ‘The Mermaid and The Sailor’) and classical Ondes-Martenist Charlie Draper on ‘Home for Wayward Dolls’. Hannah Rose Platt is an acclaimed singer-songwriter, multi-instrumentalist and storyteller, who merges the sinister authorial prowess of Nick Cave and Tom Waits, with the gilded Americana of Bobbie Gentry. Track 1 - 'Dead Man On The G Train' - released 24th February 2023 - Single ‘Dead Man on the G Train’ was the first song I wrote for the record and the opening title. I wanted to write little four-minute ‘pulp noir’ mystery thriller, which sets the tone for the rest of the record. Ed and I had such fun recording this track, expect to hear bombastic drums and beastly guitar train sounds. We hope to transport you to 1930s New York, someone’s boarding the G train to Brooklyn and they won’t be getting off… (listen out for the twist!)’ Track 2 - 'Feeding Time For Monsters' - released 29th March 2023 - Single “If a house represents the psyche – what would haunt the rooms of our very own haunted houses? I explore a mix of my own ptsd experiences and personal ghosts in this song. Ed and I wanted to create a sense of chaos and dissociation with woozy vocals and thrashing guitars (and the video animation by William Davies is just astonishing! Check it out!

Physcial release from The Wedding Present of "24 Songs" whch were all previously released digitally as singles.

Power, Pain, Privilege is Specimens fourth album & most personal work to date, it follows up on his collaboration album ‘Intersections’ with Peter Broderick, Benoît Pioulard, Midori Hirano & Emilie Levienaise-Farrouch.

Power, Pain, Privilege is a commissioned piece by London’s Southbank Centre and is an abstract sonic exploration of biracial identity, in its historicity as well as through the lens of Ives’ own personal experience of being British-Jamaican. The album is a departure from his largely ambient work and explores haunted and twisted dancehall rhythms, industrial drones, and spoken word pieces that track a course through painful incidents of imposter syndrome, shame, privilege & racism.

The album opens with a computerised robotic voice reading excerpts of the 1930s Fletcher Report: “an Investigation into the Colour Problem in Liverpool and other ports” a report which heavily stigmatises children and mixed heritage families of African and European origin. It could be deemed the official outset in defining Liverpool's ‘half castes’ as a problem and blight to the “British way of life”. Ives’ states “this track sets the tone to the album, the cold analytical and dehumanising approach to reports like this, whilst over 80 years old set the standard for viewing biracial families and to have used a Human voice to recite these pieces of text would have been to give it too much life”

The album is accompanied by a film directed by the photographer & director Lucie Rox which was live scored at The Southbank Centre in London and in Paris at 3537.

The house band at Memphis's legendary Stax Records, Booker T. & the M.G.'s played on some of the most legendary and unforgettable soul recordings in history. Originally released in 1962, the title-track of their debut LP Green Onions is arguably the most recognizable piece of instrumental pop and soul ever to be released; an absolute stone classic of a jam, with Booker T.'s organ at the fore. In addition to being a classic group, Booker T. & the M.G.'s were one of the first soul and rock groups to have both white and black members, and understandably their music is often associated with the Civil Rights Movement that was going on all around them in the American south of the 1960s. Essential American originals from Booker T. & the M.G.'s.

The FunkyJaws Music label invites us deep into their world for a third time here with another delicious 12".It's a various artists EP that features one of our top disco favourites - Eddie C. He opens up with 'Do You Wanna Dance' which has vocals pacing about the mix and old school acid bass twangs under raw house drums. Elado's '25.4 Millimeters' is a Middle Eastern funk workout with spangled drum hits and the flip side brings twisted acid disco and the cosmic trip that is 'In Your Ear With It' from Funkyjaws themselves.

Initially releasing on Oscilla Sound, then following up with records on Intramuros and FTD, E-Unity gained wider recognition when Resident Advisor described "post-Livity techno with a dreamy twist, from this promising young Frenchman". His next release – on TEMƎT – saw him inaugurate the imprint with the ‘Duo Road’ EP – four tracks of electronic futurism, jerky rhythms and dubbed-out frequencies.

‘BBB<3’ is an LP of club ballads that echo his influences, ranging from hyper-pop, Latin music, the hardcore continuum and post-dubstep stylings, featuring heavy bass mutations, spacey synths and hybrid rhythmic compositions.

In an uncertain world, E-Unity takes the opposite approach to a lot of contemporary electronic music which is always faster, harder and somehow dystopian. Instead he offers a record filled with sensibility, love and positivity, fighting the evil forces with heart emojis and sub-reinforced sonic weapons.

E-Unity shows extraordinary musicality and eclecticism throughout his productions and DJ mixes. His b2b set with Simo Cell at Positive Education Festival and former monthly residency on Rinse France solidified his notoriety as an adventurous yet thoughtful selector.

TEMƎT was launched by Simo Cell with a mission to release cross-genre electronic music, placing focus on the French music scene, whilst developing collaboration across different artistic disciplines. Previous artists to release on the label are Lolito, Less-O, Second., elise, E-Unity and Simo Cell, plus additional contributions from Low Jack, Peverelist and Skee Mask for their mix cassette series.

NGHTCRWLR is the latest embodiment of NYC based Iranian Artist Kris Esfandiari.

After a decade of fronting monumental Relapse & Sargent House affiliate King Woman, Kris now shape-shifts into her latest impulse. NGHTCRWLR: a hybrid of expressions; erupting into a slithering mass of noise, industrial, and 808’s. This debut sonic mutation contains the familiarity of Dean Blunt’s aplomb cadence twisted with the electronic jolt of The Prodigy.

“Let the Children Scream” is a lyrical divulgence of nefarious characters in power, a memorial erected for innocence lost by way of cloaked monstrosities. This theatrical odyssey will transport you into another dimension and leave you stupefied.

NGHTCRWLR’S long awaited LP will be ushered into the world on January 29th 2020 via Copenhagen based Amniote Editions overseen by Mama Snake and Rose Johansen.

Super bitter-sweet ballad. Like 70% cacao chocolate. Tomasz Guiddo teams up with legendary Vienna crooner Louie Austen (remember all his hits on Cheap, KittyYo, Tirk, G-Stone, Klein Records, Etage Noir). On the flip side of this 7" the Columbian superdons Meridian Brothers turn this into real mambo madness, which gives the ballad a joyful twist.

Proper analog mental tribe!!

ALL TRACKS BY ASTEKA!!

First release of this mastodonic triple vinyl featuring 12 bangers from the super talented and skilled ASTEKA!

NOT EVEN ONE FILLER!!

Tracks vary from 160 bpm to 170 bpm, HQ production with dark twists and very well designed analog synthesized sounds.

Must have in any bag of this genre lovers, very mixable with solid massive kicks driving you mental for real on the dance floor with surprising synths tricks and skills exercises from the artist.

Cavernous, mystical beat tribalism from the GT zone; loose yet conscious-minded dub-wise runnings land on planet Earth. Murderous tempos create fiery, twisted percussion dances, lifted and buried in blazing licks of dabbed bass-weight. 808 moves left to right, upside down, with a melodic, hypnosis-minded sway. DEEP transforms waves of metallic drum machines, isolated melodies, and wooden beats into rooted sonic spiritualism recalling distant, future bygone eras. Hand made cover artwork.

In hand-stamped, paper taped sleeve.

Constantly evolving and adapting his sound, Shackleton has releases
spanning labels such as Honest Jon’s, Perlon and his own imprints, Skull Disco (co-founded with Appleblim) and Woe to the Septic Heart!.
Shackleton now finds a home for a brand new project on the Barcelona-based, Modern Obscure Music.

Undoubtedly Shackleton, but taking the meditative aspects of his sound to a new plane, The Purge of Tomorrow, is an alias born to transmit a less dancefloor-orientated experience to whomever is ready to receive it.
‘The Other Side of Devastation’ is an investigation into a novel form of
deepness. Adverse to the reductive label of ‘Ambient’, these tracks are spawned from a live performance context. The essence was to create an immersive encounter where listeners are called on to actively unburden their mind of unnecessary thoughts. Staying true to the trance elements that Shackleton is renowned for, this EP is not dependent on traditional structures or a linear narrative.
‘Time Moving’ presents itself through a journey of disquieted moments and contemplative states. Hypnotic strings provided by Kathy Alberici construct pastoral phrases that mesh with the larger looming drones,
culminating to conjure a daydream-like energy. Following on, ‘Waves’
twists through various forms, awash with cascading vocal splices and
soothing murmurs contrasted with rousing sub pressure.
Reflective and sometimes provocative, as an artist who resents the
pigeon-holes of genre, The Purge of Tomorrow presents an exciting new direction for Shackleton. Bursting-at-the-seams with emotional
complexity as to echo the woes of the human condition, this EP is
steeped in feelings of forgone events doomed to be replicated.