Buscar:unreleased project

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

Nicky Prince has never been bound by musical genre. The Milton Keyes born and raised. Vocalist has the versatility to fit any vibe while not compromising her signature sound. Although best known for her Garage hits with Zed Bias in the early 2000s, Nicky was performing and recording with various acts well before the height of Garage’s popularity. She started her career singing in Soul and Funk bands, and over the last two decades has lent her voice to Electro, Hip-Hop, Drum & Bass, House, and Ska tracks.
In 2009 Nicky graced listeners with her debut solo EP “See What You Mean.” Within only five tracks the singer-songwriter displays impressive range, from the up-tempo, energetic funk of “I’m Hearing You” to a bluesy rendition of Nina Simone’s “Don’t Let Me Be Misunderstood,” to the hushed tones of the EP’s sole acoustic number, “Balancing Scales.” She is backed on this effort by her band Soul Selecta, which includes renowned UK session players Dave Baldwin on Hammond organ and Robert ‘Skins’ Anderson on drums/percussion. Sadly, the release was criminally slept-on.

While “See What You Mean” was available on streaming services and CD, the EP
never received the vinyl treatment. So, rather than simply reissuing the project, Nicky has teamed with KU to offer what she calls a “reincarnation” of her debut on wax.

Now retitled “Listen Up,” this underrated affair has had new life breathed into it. To bring out the best in the original recordings, each song has been meticulously remastered by Christian Obermayer at Strype Audio. Then to fill out the 12”, Nicky has added a handful of unreleased songs, including a heavy groove cover of Michael Jackson’s “I Can’t Help It,” which sees her reconnect with Zed Bias; a punchy, funked up tune titled “Listen Up;” and the original version of “Balancing Scales” that reveals what the track sounded like before it was stripped down to just guitar and vocals. This offering perfectly captures Nicky’s distinct tastes and inspirations. Further, it fills a hole in your record collection that you didn’t know was there until now.

Presenting the third volume of forward-thinking electronics and peerless Jungle / D&B expressionism from iconoclastic Bristol producer and DJ, Krust. An artist who has always been pushing the sonic envelope while keeping dancefloors fully locked.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 3 serves us a plethora of unmissable highlights from Krust's enviable back catalogue. From the raw jump-up chaos of 'Rukus', the early rolling business of 'The Resister' to the epic genre defying voyage that is 'Soul In Motion', no stone is left unturned on what is - once again - an essential purchase for any serious lover of electronic music.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

Best Italy presents : the official remastered limited edition of one of the most sought after italo-disco jam from 1983! A one-off studio project featuring Belen Thomas on the vocals. This one became huge in the early chicago house movement and represents an early example of use of the classic Roland TB-303 Bassline!
This 2019 release offers for the first time the unreleased dub version of Melody plus the original versions.

Morning Glory

Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.

We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.


Axis Expressionist Series.

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

If youʼre a fan of Daptone Records, chances are youʼve read or heard the name Victor Axelrod, and even if you havenʼt, youʼve heard music from his hand. As a producer, arranger, recording and mixing engineer, and keyboardist, his creativity has extended across more than two decades of the labelʼs releases, even dating to its prehistory with Desco Records.

If You Ask Me To..., the first LP under his name for the label, is a collection of singles released between 2007-2023 as well as unreleased tracks from Sugar Minott and Binky Griptite. The genesis of which came via an 11th hour request from Daptone for a Sharon Jones remix (2007) that resulted in the reggae version of “How Long Do I Have To Wait For You?” found here.

This opened the door to additional explorations of reggae/soul synergies within the catalog, affirming the musical and cultural link between Daptoneʼs core soul sound and Axelrodʼs passion for Jamaican music. While previous projects like Ticklah Vs. Axelrod and Roots Combination (produced under the alias Ticklah) were inspired by the Jamaica of the 1970s and 80s, this set specifically channels an earlier period in the 1960s when Jamaica was both strikingly original in its continuum of genres but also closely and empathetically attuned to Black American music.

Through Axelrodʼs exceptional taste and the notable contributions of guitarist To

2023 Repress
The most obscure and sought after italian electronic release, but also another extraordinary 70s output from the legendary Regson Studio of Milan (remembering in 1976 "Funky Bump" and a year later "Disco Shitan", both produced by Pino Presti). The eclectic brother of Vangelis (chit> he was playing keyboards like him), helped by Yorgos Pentzikis for the "vocoder" vocals, reached the right sound for one of the craziest electronic disco song now available for for the first time on 12, containing also the unreleased instrumental version. Nikos Papathanassiou in 1976 achieving success with the disco-hit "U" by Chrisma, but Maurizio Arcieri (cousin of Pino Presti and Chrisma's leader), moved towards new-wave and punk. So for the orchestral conducting of a new cosmic-disco project titled MoreI Like It he involved Rodolfo Grieco who later produced in the emerging genre of Italo-Disco great classics like "Going Crazy" by Lily Ann."

Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as Elevator Madness (1996). All of these albums came out on vinyl but one of the best was the singular Closed Circuit (2001) which, unfortunately, only came out on compact disc and was somewhat lost to time until now. After Grapefruit released his collection of singles and unreleased songs called Last Ticket Home in 2019, Jefferies mentioned he’d always hoped one of his personal favorite solo albums could someday be heard on vinyl as it was intended. Grapefruit is proud to finally be able to highlight Jefferies’ last album of lyric-based songs by releasing Closed Circuit on vinyl, remastered and with new artwork and insert. This album features all of Jefferies’ signature tense and dark, piano-driven rock and moody balladry, along with themes of personal isolation and domestic ambivalence. It’s a tour-de-force that has remained in the dark too long.

The second EP of the Axis Expressionist series includes two new tracks: ?The Wise One" and "Don't Ask Me Why". "Wind Walkers" original version was released in digital as "Every Dog Has Its Day vol.12" (2020). Here in 2023er mix. All tracks are available on vinyl for the first time and on vinyl only.

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

"Don't Ask Me Why" by Millsart is conceived, composed and produced by Jeff Mills for Axis Records / Frontcover artwork: Andromède debout et Persée by Félix¦Vallotton (1907).

Exclusive 7" EP featuring 2 previously unreleased tracks, ltd. to 1.000 copies ww Both tracks were recorded during the 'No Trail and Other Unholy Paths' recording session in 2017. Dean Hurley (David Lynch's sound design assistant) mixed the songs. ,As much as we loved how the songs came out, they did not make the cut for the album because of their slightly more uplifting nature", says Evan Patterson aka JAYE JAYLE. ,The 'No Trail...' album was meant to carry brooding mood. 'Soline' and 'We Stormed' both have a similar theme to the forth coming album 'Don't Let Your Love Life Get You Down'. That similar theme is Love!" Evan Patterson created an ever-evolving solo project under the moniker of Jaye Jayle that explored the more abstract realms of the American singer-songwriter process.

Timeless minimalist approach to composition braced by repetition and playfulness.Alberto’s music reflects calm, focus and intimacy. Ethereal and atmospheric, his pieces operate within the digital as well as the analogue realm in equal measures. Sampling, Midi sequencing and field recordings are the instrumentation used in these 15 songs recorded on a four track reel to reel tape. Highest possible recommendation for fans of Suso Saiz,Jon Hassel, Eno or Harold Budd

“Haizetxe” which stands for wind house, is the first ever record consisting of unreleased material recorded between mid 80’s and 90’s by musicianAlberto Lizarralde in Zaldibia, Basque Country.

One of the founders of the first school of Improvisational jazz and contemporary music (Jazzle) established in San Sebastián to In the early 1990s,Alberto is a well-known figure among Basque musicians but not so much among the general public. In his professional curriculum we find the direction of the Plaza Festival, the Zirrara record company, his work as a producer, editor (editions 3e argitalpenak), the direction of the audiovisual installation JAArtzeren Unibertsoa, the arrangements and composition for the Iparraguirre 7 project, etc...And even so, he has managed to stay away from the spotlight.

In all this time he was composing and recording music, but the right circumstances never arose for its release.Thus, it has remained stored in a drawer all these years. Finally the music of Alberto Lizarralde sees the light on Hegoa label in a limited run of 300 LPs.

Since we've known him, Robert Lloyd has made quite clear his enormous affection for the songs and sounds of Freakwater, the duo of Janet Beveridge-Bean and Catherine Irwin who've been wrongly denied their place as rightful and willful progenitors of alt-country's 'movement', which (frankly) is to their credit. Their genius in offering absolute authentic to the sound old-time Appalachian folk music with a modern façade that in no way negates tradition (one of their albums is titled Feels Like The Third Time) is unparalleled within the genre, and Freakwater remain under-appreciated. After the start of Covid, Robert dared approach Janet with the idea of recording together. Over the course of the long pandemic, songs were bandied about for months, and when recording was finally practical, a band was assembled with dates set up for a recording session in Valencia, Spain. Robert and Janet were joined by Robert's long-time ally, Pete Byrchmore, the musical foil for Robert's solo album on Virgin and a former Nightingale, Mark Bedford, the bassist for Madness and Terry Edwards' Near Jazz Experience, and Pablo Roda, Spanish mystery drummer, couldn't have worked out more perfectly. Tracks were selected without regard for collective presentation, just the goal of walking out of the studio with an album of perfect gems. Forget Lee & Nancy or George & Tammy, Rob and Janet have an immediate chemistry that only sounds long-lived - and too uniquely them to merit any comparison. The title track, Black Cat, Dark Horse is the sole Lloyd / Bean / Byrchmore composition and one of the record 's highlights. Jim Elkington, collaborator with Jeff Tweedy and Richard Thompson, contributes Heavy Reckonings and a song written with Janet, The True Lovers' Knot And The Lie, while Robert adds reworkings from past releases - Sweet Georgia Black and Black Country (with Pete) - not to mention the unreleased Eggs And Bacon. Janet brought One Shot and the unheard Freakwater song Arc Of A Smile. Covers of tunes from Dion and The Monkees and a magnificent Jon Langford song, "Tears Like Stars" round out the album. We daresay the album is among the finest you'll hear in 2023. That it doesn't fit perfectly into any preconceived genre is a testament to its quality. "Songcraft" is a word used infrequently today, yet Black Cat, Dark Horse will show that good songs endure. We're proud that Robert and Janet will find some new admirers through this album's release. The Michael Cumming / Stewart Lee film King Rocker made a case for Robert Lloyd-as-losthero; this album furthers that idea and shows a compelling side of Janet's talent and abilities which will be a surprise to her fans and serve as an entry point to exploring her many other compelling projects.

"I was asked to remix this pop-rock hit when it came out 10 years ago, I loved the vocal and the idea of giving it a nu-disco flavor so I started working on it but unfortunately, I couldn’t deliver it on time. A few years later I finished the remix and started playing it in my DJ sets, the feedback is always great and I kept getting “track id” requests for it. So we talked about it with Paul Hammer from Savoir Adore, their label kindly agreed to license it to us, and here it is! This is the 20th release for Nano Rec on the 20th year anniversary of the label and after a 10 years break in which I was focused on a number of other musical projects and also amassed a lot of unreleased Spiller music that we’re now gonna bring to light." Spiller

Sergio Fazio has been the driving force behind a string of early 90s high octane releases sitting somewhere between breaky rave indulgences and early progressive trancey sounds.

Starting with “The Factory” project which we had the pleasure of releasing last year, we continue this relationship with an unreleased EP from the same time, finally allowing it to see the day of light 30 years after it was produced. To compliment the occasion we bring Berlin's specialist Trent to cook a new remixed version in his studio - Italy at it's best.

Heavy percussive elements flowing in and out of driving bass line patterns, hearing is believing, can't go wrong. Remastered and with full cover artwork.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

Bored with Prozac and the Internet? is an experimental/electronic-based album originally released in 2013 by TV Mania. The album was recorded from 1995 to 1996 by TV Mania members Nick Rhodes and Warren Cuccurullo as a side project of their full-time band, Duran Duran. The recordings remained unreleased for some 17 years after having been presumed lost. The chance discovery of the album master tapes by Rhodes led to the set's 2013 release.

"Inner Eye" and "That Voodoo You Do" originally released in digital as "Every Dog Has Its Day vol.12" (2020)
"Nocturnal Moves" originally released in digital as "Every Dog Has Its Day vol.9" (2020)

Axis Expressionist Series:
A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions.

In 2014 Suisalu received the Young Estonian Artist Prize as curator of Project of In-existent Villages, an articulate exhibition full of installations and site-specific sound performances. The use of peripheral spaces and the crossovers, sometimes extremely creative, of human interactions, data, sounds and technologies, are recurring in the works of Suisalu, whose subjective perspective unconventionally investigates different social and cultural phenomena. He is always attracted by the different forms of technologies. It can be an old seismograph he reconstructs to record the underground vibrations of a volcano, or, it can be some 3D models he uses to analyze a grain of soil coming from the ancient Pompei. The results of the researches would lead to the installations. The whole set of data is often the premise of a narration, a datafiction, as in the case of the signals recorded from some abandoned satellites, who are later presented with a speed set by the position of other satellites gravitating above the gallery hosting the event.

“Noisephony of Lawn Mowers" was originally composed in 2013, but it was unreleased until now, when Staalplaat, a fundamental label for its unusual experimental connections and for the sound events performed in unconventional spaces, decided to publish it. It's a score for lawnmowers, whose making is given to a conductor and executed by a group of artists. Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.

“Silver Meets Ted” is the other track included in the selection. It's a recording of over ten minutes, whose trend cryptically moves on and with some unsettling minimal tolls, always more metallic. Some deaf beats follow, and then we have a splash of water and some slightly hinted neighs, chirps, different spills of liquid, more intense and measured, clackings and vibrations, some hardly identifiable frequencies and again a series of punctuated metal bells. The work by Taavi Suisalu stands out as a calibrated combination of mathematical coherence and elements of surprise, automatized and causal processes, some small oblique utopias, that work well together by improving highly subjective resources and create some slightly unsettling final results.

Turkish underground rock misfit Erbatur Çavusoglu's first solo album is finally here: an intimate collection of previously unreleased songs and new versions, with fresh arrangements by Big Daddy Mugglestone. The result is like Iron & Wine being fronted by a Taksim Square street poet, or a Turkish Crazy Horse.

Erbatur's wavering falsetto delivers heartfelt and tender songwriting, accentuated by an eclectic band of old and new Berlin friends. A must for fans of Indie Americana and Turkish Psychedelic Folk, this is a warm and haunting departure from his previous work with Zardanadam, deeply personal but with open arms.
Supported by Initiative Musik gGmbH with project funds from the Federal Government Commissioner for Culture and Media

French electronic pionner, ADN’ Ckrystall, became a legend in the Minimal-Synth scene when his first album
« Jazz’Mad » (from 1982) was rediscovered and re-edited via the two biggest labels in the genre : Minimal Wave (circa 2005) and Dark Entries (circa 2012). Following this new interest, a bunch of unreleased materials reappeared and went out mostly directly through Erick (ADN)’s control, under compilations, coffrets (V.O.D.) or albums that never had the chance to come out before... But one piece was still missing, the album just following « Jazz’Mad » called « Frankraut » and here comes the story... During the covid year of 2021, Erick finally found the tapes forgotten somewhere at his parents house since 1984. After relistening to it he decided to bring them back to life. « Frankraut was a project born from the reflexion about the concept of marrying (and not the opposite) the romantico-poetico side : naive melodies flirting with research and experimentations in the electronic music « à la française » like illustration, « bilbliothèque sonore » (library) or music for film... and the « cold », mechanic, motorik, hypnotic, psychedelic free explosive and creative side of the Krautrock. »

Summer 2022, during the Braille Satelite festival (Lithuania) Sacha (label boss) and Erick met and became friends. Few weeks later Erick was sending the demos of Frankraut on a burned CD (‘à l’ancienne’) by the post to Sacha. This is how ‘the 40 years old never released before project’ is finally coming out has a mini-LP on the 10inch format on Macadam Mambo !

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Let's get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What's Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music-good music-and you will hear this in the depth of the compositions.
The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band's catalog since it was featured as the B-side of the "What's Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.

"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band's roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band's first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn't perfect until Lisa laid down the final version and a choir was added. It's difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.

Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."

Eskimo leads to the aforementioned classic, "What's Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"-and we still mean it! Let's face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia's music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s.

"Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won't Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.

The album concludes with a really strong ballad entitled "I Haven't Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.

Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

On behalf of re:discovery records, it is with great excitement that we announce the 3rd and last EP of the set highlighting the music of 1990's Norwegian electronic act Neural Network. Part 3 hones in on their unreleased album that was never formely named. The band and those in the industry who heard it felt it was their best music yet. There were label suitors for this album including a top tier Belgian label but sadly things did not work out as that label folded. And this project was left on DAT's.

Of the 9 tracks we chose, there were 4 we felt would most fit the vinyl medium and the theme of the first 2 EP's. These fit in with music like B12, Stasis and As One for some lofty comparisons and we think it fit's perfectly in that esteem company. The Detroit-esque beautifully somber 'Lambent' sounds almost 'Tedra' like from Kenny Larkin. 'Jetstream' is pure melodic robotic funk from the future. The side B track 'Floatation' coming in at just over 18 minutes and is a prime example of the sci-fi music they so wonderfully produced. This 3 record series is a great example of re:discovery records' mission to present the past for the future. All feature amazing artwork from UK's Grid Pattern complete with insert that features info on the music and their history. Bring back the Chill Out Rooms!

Big Red Balloon Swirl Edition! Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Eddie Leader’s Northern PowerHOUSE imprint Hudd Traxx has, over its 17 year history, become synonymous as a home of quality underground sounds. As a label that has consistently kept the vibe alive through its unwavering insistence on quality over quantity, it has seen many masters of the craft feature on the Huddersfield-based label... Including Agnès, Chez Damier, Chris Carrier, Brett Johnson, JT Donaldson, Rick Wade and more.

As we kick-start ’23, Hudd Traxx announce an exciting new series of releases… Hudd Influence. A new run of vinyl offerings that see label boss Leader digging deep, licensing, remastering and pressing to vinyl a spicy selection of joints that have played their part, not only in his own musical journey, but also in influencing the foundation of the Hudd Traxx label.

Volume One brings us four choice cuts from House music royalty, kicking off with the Todd Terry’s 1992 classic ‘When You Hold Me’, taken from his debut ’The Unreleased Project’. Next up, the ‘Body N Soul’ Mix of ‘Get 2 U’ from long-time friend of the label, Jovonn, under his 1999 alias LYON. On the flip we’re treated to ’Touch Me’ (Dub Touch Me Mix), the ’94 production from Chicago’s Danell Dixon, alongside a huge Eddie Leader favourite in The Diggers 1996 jam, ‘Jazztaker’s Dub’.

Whether this is a first introduction or a reaffirmation of their greatness, Hudd Traxx are excited to provide a fresh platform for these true house classics.

Keep ‘em peeled for Vol. 2!

Antipodean Anomalies 2 is Left Ear Records' most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato and& Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia and& New Zealand.

As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.

The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.

To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.

The only known EP released by Sick Hardcore, a project of Florence based Franco Falsini, the founder of Kaos Records, an important outlet for the Florentine 90s scene. “Digital Justice” is a collection of 4 proto rave dancefloor oriented tracks featuring sample based sounds over heavily percussive patterns of rhythm with an overall darker tone. Sometimes bordering EBM and New-Beat sentiments, yet also touching upon more progressive sounds and breakbeat elements. In addition to the original release's tracklist is a secret unreleased (more contemporary sounding) version of “Clinic Rhythm” which might have been put together by Franco himself more recently – hard to tell, but sure to impact any dancefloor for the better. Generously remastered for big room action.

Louie Vega is launching a trio of Double Pack 12” releases that includes special unreleased versions of select titles from the Expansions In The NYC album project. Each package also features unique customized art by celebrated artist Andrew Thiele who also created the art for the album jacket as well. This package spotlights four of the very memorable vocalists on the album: namely Lisa Fischer (The Star Of A Story), Cindy Mizelle and Audrey Wheeler (Love Has No Time Or Place and Janine Sugah Lyrics Lyons (A Place Where We Can All Be Free).

Louie Vega is launching a trio of Double Pack 12” releases that includes special unreleased versions of select titles from the Expansions In The NYC album project. Each package also features unique customized art by celebrated artist Andrew Thiele who also created the art for the album jacket as well. This package is a tribute to two of Louie’s musical heroes, namely the late Patrick Adams and Larry Levan. Legendary producer Patrick Adams was the writer of Chimi and Atmosphere Strut, and equally legendary DJ Larry Levan was instrumental in breaking Bernard Fowler’s early releases with The Peech Boys at The Paradise Garage before Bernard was catapulted into worldwide fame as one of the featured back up singers on tour and in the studio for the Rolling Stones. Chimi and Atmosphere Strut also feature collaborations with Louie’s renowned Elements of Life band and New York based House and Hip Hop DJ / Producer extraordinaire DJ Spinna.

The second single to be pulled from upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original. Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’” When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!” Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.” Alongside his Berlin production partners, Re.decay DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.

In the Beginning (Vol. 2) continues the treasure trove of the early works of Declaime & Madlib, the longtime collaborators who helped usher in a new sound and style from the city of Oxnard, Calif. This collection is brimming with previously unheard tracks from this beyond-creative duo that blends hip-hop with funk, jazz, soul, and psychedelia to lay the groundwork for so many other emcees and producers.

For Declaime (a/k/a Dudley Perkins), this series serves as a way to honor his friends and the city that raised them. He shouts out names like The Almighty Metaphor (aka MED), Oh No the Disrupt, DJ Romes, Kazi, and more, who he says “created a lane for the city of Oxnard to get the recognition it deserves.” Some of them make an appearance in one form or another on this collection, too—Romes, for example, mastered the project—that compiles 10 previously lost tracks that were recorded from 1993 to ‘96.

In The Beginning (Vol. 2) is entirely produced by Madlib, who provided all the cuts as well. His instrumentals are on that raw and dusty vibe as they move freely through genres and sounds, like on standout cuts “Bandwagon,”WLIX,” and “Signs (feat. Wildchild).” Those are all highlights for Declaime, too, and they demonstrate his ability to blend his observations of the world with bravado and third-eye insights. Even as young kids just getting their feet wet in the studio, these two were firmly on their path.

That path started, in a way, when the two became friends as young kids. “I first met Madlib when he moved across the street from me; I was around nine years old at the time,” Declaime says, adding that their fathers were friendly with one another. Despite the two losing touch after Madlib’s family moved, they reconnected just a few years later and the rest is musical history.
In The Beginning (Vol. 3) is set to drop via SomeOthaShip Connect in partnership with Fat Beats. This alliance will include several new albums and previously unreleased projects from the Cali veteran that have yet to appear on vinyl, in addition to new releases from the SOS artist roster.

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

Louie Vega is launching a trio of Double Pack 12” releases that includes special unreleased versions of select titles from the Expansions In The NYC album project. Each package also features unique customized art by celebrated artist Andrew Thiele who also created the art for the album package as well. Joy Universal and Igobolo (Feelin’ Love) spotlight the profoundly soulful and musical energy that emerges when Louie collaborates with two of the stars of the House Music community namely Josh Milan and Joe Claussell.

1970s/80s San Francisco art-punk band 14-track collection includes
remixed tracks and previously unreleased recordings
It's hard to let go of a good thing
More than four decades after The Mutants first appeared on the San Francisco
underground music scene, four of the original members are still playing shows
together under that name in 2022. After all, mutants are known to mutate, and
that's what this colourful, energetic musical collective has been doing off and on
since 1977.
Perhaps even more surprisingly, the sessions for their lone album, 1982's ‘Fun
Terminal’, continue to bring forth lost nuggets. In punk and new wave lore, ‘Fun
Terminal’ is considered a troubled project. Prior to the album's appearance, The
Mutants had released only one 7-inch single -- 1980s' ‘The Mutants EP’ -- and the
band also had songs featured on two local compilations. Both the EP and one of
the compilations were issued by 415 Records, the legendary Bay Area indie that
made the jump from the new wave trenches to the majors when they signed a
deal with Columbia Records in 1981. Many scenesters felt that The Mutants
should have begun album sessions for 415 immediately after the EP, but that
didn't happen.
Each of the 14 tracks on the new collection, ‘Curse Of The Easily Amused’ has
either been remixed, or sourced from previously unreleased tapes. Eight songs
have never been officially released on vinyl or CD in any form. The versions of
'Think, Think, Think' and 'Tribute to Russ Meyer' feature radically different
approaches than what was heard on the ‘Fun Terminal’ reissue.<

"Love Is Overtaking Me", originally released in 2008 comprises 21 demos and home recordings of unreleased pop, folk and country songs from Arthur"s vast catalogue. While much critical and popular affection for Russell"s music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings can be heard on "Love Is Overtaking Me". Alongside songs recorded with various incarnations of The Flying Hearts, a group formed by Russell with Ernie Brooks whose shifting line up included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty and Bright & Early. Compiled from over eight hours of material, "Love Is Overtaking Me" reaches back further to Russell"s first compositions from the early `70s and spans forward to his very last recordings, made at home in 1991. Chris Taylor of Grizzly Bear contributed mixing, restoration and editing to the album, whose tracks were selected by Audika"s Steve Knutson, Ernie Brooks and Russell"s companion, Tom Lee. Several songs feature prominently in Matt Wolf"s film "Wild Combination: A Portrait of Arthur Russell". Extensive "Love Is Overtaking Me" liner notes by Tom Lee provide an intimate perspective on Russell"s diverse catalogue, which spanned an extraordinary diversity of styles and won the love of artistic communities that would seem utterly disparate, from Philip Glass, John Cage and Allen Ginsberg to rock bands like The Talking Heads and The Modern Lovers; the pre-Studio 54 disco-party scene of Nicky Siano"s Gallery and David Mancuso"s Loft; and DJ-producers like Francois Kevorkian and Larry Levan, among others.

Mr Projectile, one of our favorite IDM producers from back in the day, has given La Luna the chance to share some of his unreleased IDM tracks from the early 2000’s. The album is an eclectic blend of ambient, IDM and experimental electronics.

These sounds are a time machine to simpler, less chaotic times and have become essential listening these days. We envision this album spinning on a sunny Sunday afternoon, filling your room with the delicate and deep textures of electronic music and soothing your uncertainty. Enjoy a nice cup of coffee and explore your thoughts as you speed through time and space. Hopefully serving as a special reminder that we are all in this madness together.

Not only is the music stellar, but we are honoured to have Marcello Raeli, an Italian artist and car designer, accompany the music with his wonderfully mind bending artwork. Marcello is an artist who has designed some of the most insanely beautiful/fast cars on the planet. Here we get to take a deep look into his mind and marvel at the incredible interconnectedness created in this piece and appreciate the sense of depth and space created for this album.

2022 Repress

Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with "Summvs" in 2011, NOTON reissues all the five albums between June and October 2022.

With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002),Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered.

Remastered in collaboration with Calyx Mastering, the recordings of Vrioon, Insen, Revep, Utp_, and Summvs are made available on vinyl and CD under the title 'reMASTER, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.

2022 Repress

Originally released in 2005, 'Insen' is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five albums series.

Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled 'Barco.' Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 'Insen' tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. ?
In 'Insen', Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of 'Aurora,' you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty.

Ten years after its release, Tribes' 2012 debut album Baby is available on
vinyl for the first time in Europe
The deluxe edition includes multiple unreleased tracks and demos from their
2012 recording sessions. The reissue is also available in baby pink. Tribes are a
four-piece rock n roll band from Camden Town. Their debut album 'Baby' was a
top ten smash with the Guardian dubbing them the "saviours of British rock". They
parted ways in 2013 to work on various other projects but have recently reformed
to write and record a new studio album which is set for release in 2023. The
Guardian's review of Baby in 2012: "With Lloyd coming across like a latterday Ian
Hunter, the songs are big on riffs, hooks, choruses, sex and swagger, although
there's enough going on lyrically to suggest more depth than just sharp
songwriting."