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Most of these are for Lost Evenings, London event
Cassette for Lost Evenings 2021 & retail.

This is the Second edition of Illegal Alien LTD new Various Artists Compilation Series called ‘Between Lands & Oceans’ this series will become an annual compilation and it will be presented in Vinyl, CD, Cassette and Digital format. For our first Volume, we are proud and delighted to count with all this great artists, some of them already with a very successful career and others with a very promising future. Nothing but quality Techno music inside this Various Artists and we thank everyone that is involved on the second Volume of Between Lands & Oceans’.

Legally blind from birth, Brazilian keyboard player, composer and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion) and Roberta Davis (vocals).

Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp and Moog synthesizers (plus a whole load of effects units), makes for an album light years ahead of its time.

The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis' ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus.

A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring 'Jungle Kitten'': a new dancefloor focused variation on "Jungle Cat". At around 140 BPM 'Jungle Kitten' was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the 80s and as a result it has probably become Fest's most well known track since.

60 Years of cult and classic soundtracks presented on 2 x 180g

Featuring Bernard Hermann, John Barry, Thomas Newman, Giorgio Moroder, Isaac Hayes, Lalo Schifrin, Mike Oldfield, Vangelis...

Splatter Vinyl

Latest compilation of ISSUES containing big tracks from artists such as Detlef, Chicks Luv Us, George Smeddles, CAAL & BAUM and Brown Vox.

On the A side we find George Smeddles with hard hitting house track “FIX”, from trippy and sexy vocals to smooth cut baselines. Second track by Caal & Baum “I Wish”, a playful groove, solid bassline, robotised vocals and a powerful breakdown.

On the B Side Detlef is on remix duties for Chicks Luv Us “Other Dimension’ with a bass driven remix, combined with clever effects, chopped vocals and a solid breakdown that will bring dancefloors to life and last but not least we have Brown Vox’s “Do It Ma Way”. A track with smooth elements, bouncy beats, subby basslines, a massive breakdown with vocals and a quick drop that surprises everyone before it kicks in.

Orange Vinyl

Casey Spillman returns to LOCUS with his four-track ‘Summer Dreaming’ EP.

A favourite amongst the FUSE family and an artist who embodies the label’s sound and mentality throughout his productions and sets, London’s Casey Spillman continues to grow and evolve as one of the hottest talents within the capital. After his ‘Bit More Raggo’ EP on LOCUS in 2020 provided four heavy slabs of dancefloor ammunition for the likes of Skream, Samuel Deep and Varhat, he returns to close October with a quartet of fresh cuts across his ‘Summer Dreaming’ EP.

‘Get Upper’ sees Spillman opt for a powerful combination of warping bass licks, infectious vocals and sturdy kicks, while ‘I Know’ offers up a restless bass-heavy shuffle beneath dubby textures as moody harmonies contrast against evolving leads. The B-Side houses title track ‘Summer Dreaming’, delivering swinging percussion beneath glitchy electronics and trippy atmospherics, before closing with an ode to FUSE’s original home of 93 Feet East across ‘Good Morning Ninety Free’ – a classy cut weaving dusty deep chords amongst taut drums and sweeping synths.

Tracks by Johan Inkinen (Faceless Minds), Franck Kartell, Plant43, Victoria Lukas, Penelope Martin and Depressor. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by Metacomplex, Dibu-Z, Vertical Dimension, KAN3DA, Patronen and Johan Inkinen. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by The Hacker, Darren J. Horgan, Digitek, Dvsnme, DJ Di'jital, Kind Human Being and Noise&Noise. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by Max Durante, Teslasonic, Kerg, Kitbuilders, Bolz Bolz and Negocius Man. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by Cygnus, Umwelt, The Exaltics, D'Arcangelo, Vema-Diodes, Hermes 3, Noise&Noise and Andrea Benedetti. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by Wisp and Alek Stark. This record was only available previously as a gift to those who pre-ordered the box when Fundamental Records released it. It's a tribute to Ikutaru Kakehashi, founder of Roland Corporation, pioneer in electronic music instruments and creator of the original Roland TR-808. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The label Control Room presents it's first vinyl only release "Mind Travelers EP" in which the three artists have teamed up to create an abstract story for your ears.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and finding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience. + RECORDED DURING MINUS THE BEAR'S 2018 FAREWELL TOUR + 2021 MARKS THE 20TH ANNIVERSARY OF THE FORMATION OF MINUS THE BEAR + MIXED BY MATT BAYLES (SOUNDGARDEN, PEARL JAM, MASTODON, THE SWORD) + MASTERED BY ED BROOKS AT RESONANT MASTERING (R.E.M., DEATH CAB FOR CUTIE, FLEET FOXES) + FIRST AND ONLY OFFICIAL LIVE RELEASE FROM MINUS THE BEAR + RETAIL EXCLUSIVE VARIANT ON CUSTOM OPAQUE GREY VINYL LIMITED TO 1,900 COPIES + 3xLP PACKAGE COMES IN TRIPLE GATEFOLD SLEEVE WITH SPOT INKS + 3xLP PACkAGE INCLUDES PRINTED INNER SLEEVES WITH METALLIC SPOT INKS + 3xLP INCLUDES A DOWNLOAD COUPON

HARDCORE UPROAR* over 80 of the freshest Hardcore Anthems from 3 of the biggest brands in the hardcore / hard dance scene written especially for this Brand New Compilation series, going back to the original ‘Bonkers’ style mixed CD format, featuring Uproar Creator, and one of the biggest names in Hardcore History DJ Seduction alongside 24/7’s owner / creator Al Storm, Rob IYF (one of the biggest new talents to come through the Hardcore scene) showcasing the latest 24/7 Hard Dance / Hardcore project ‘Voodoo Panda’ and 2 Rave Legends DJ Stompy & Darren Tyler (Bananaman / Silk Cuts / JHAL etc / Fade & Bananaman etc) join forces with Eazyvibe for a 28 track feast of happiness

Featuring Fresh Dubs from artists such as, Scott Brown, Bang!, Al Storm, Rob IYF, DJ Seduction, Darren Tyler, Alaguan, Chris Fear, Euphony, DJ Stompy, UFO, FREQ-DLT, Eazyvibe, AK47, Fracus & Darwin, M-Project, Daniel Seven, MKN, Hartshorn, EZKill, Bananaman and more.

The Pop Group’s seminal 1979 album ‘Y’ has been
given a new dub mix by British reggae legend
Dennis ‘Blackbeard’ Bovell, who has produced for
a wide variety of artists including Fela Kuti,
Bananarama and Linton Kwesi Johnson.
 This new version of the album features reimagined
arrangements of the original album’s tracks with
mind-bending space echoes and a plethora of
other studio effects.
 ‘Y’ is ranked by The Wire as one of the 100 Most
Important Records Ever Made and by Pitchfork as
one of The Best Albums Of The ‘70s.
 CD housed in a brown Kraft Board card sleeve
with vinyl replica CD.
 Double vinyl in brown Kraft Board sleeve with
exclusive poster insert and additional packaging
plus digital download code.
 Cassette with booklet and digital download code.

The Pop Group’s seminal 1979 album ‘Y’ has been
given a new dub mix by British reggae legend
Dennis ‘Blackbeard’ Bovell, who has produced for
a wide variety of artists including Fela Kuti,
Bananarama and Linton Kwesi Johnson.
 This new version of the album features reimagined
arrangements of the original album’s tracks with
mind-bending space echoes and a plethora of
other studio effects.
 ‘Y’ is ranked by The Wire as one of the 100 Most
Important Records Ever Made and by Pitchfork as
one of The Best Albums Of The ‘70s.
 CD housed in a brown Kraft Board card sleeve
with vinyl replica CD.
 Double vinyl in brown Kraft Board sleeve with
exclusive poster insert and additional packaging
plus digital download code.
 Cassette with booklet and digital download code.

Dave Chappelle's viral video "8:46". The video was YouTube's top trending video of 2020 with over 30 million views. The video and subsequent album are a searing rumination in the aftermath of the murder of George Floyd that ignited worldwide outrage and led to protests on race inequality, police brutality and the criminal justice system. Filmed in Ohio on June 6, during the COVID-19 lockdown, "8:46" addresses one deadly plague, while in the grips of another. The B-side of the album features poet Amir Sulaiman's performance of "My Insides Out" and "We Must Win," also recorded in Ohio. It also includes "White Noise," 8 minutes and 46 seconds of silence in remembrance of George Floyd and the countless victims of police brutality and systemic racism. The album cover and artwork features performance and backstage photos from Chappelle's performance as well as images from various George Floyd protests in Los Angeles, CA, all taken by Grammy-nominated artists and photographer Mathieu Britton.

Domination Campaign was started in Hobart Tasmania in late 2019 by Psycroptic vocalist Jason Peppiatt as a solo studio project. Jason began work in Crawlspace studios in December 2019 with fellow Psycroptic band mate and studio engineer Joe Haley. Once recording began Joe was recruited to also play drums on the album and the duo had their sights set on recording an over the top, heavy, straight down the line, crushing old school death metal album. Nothing fancy or technical just big simple heavy riffs and massive mid paced drum beats. Lyrical topics are loosely based on events of various wars in history. Their debut album ‘Onward to glory’ was completed in July 2020 with all recording, mixing and mastering done by Joe Haley and album art done by Jason Peppiatt

12” gatefold jacket w/ full color matte UV print, 1x translucent purple cloudy effect vinyl, black dust sleeve, printed LP labels, marketing sticker and free digital download card

Gregory Keltgen (aka DJ Abilities) gravitated toward the turntables at a young age, becoming a DJ at only 17, before going on to compete in the legendary DMC DJ competitions only 2 years later in 1999. He won the regional title and advanced to the U.S. finals that year, before doing it again in 2001. Soon after, Abilities was also garnering attention for performing all the scratches on indie classic, Fantastic Damage, the debut album by El-P of Run The Jewels’ fame, as well as contributing his turntable talents and production skills to other Hip-Hop cult favorites like The Anti-Album by Semi.Official, and The Taste of Rain... Why Kneel? by Deep Puddle Dynamics. But above all, his name would become most celebrated throughout the 2000’s as one-half of the dynamic Hip-Hop duo Eyedea & Abilities.

DJ Abilities had first met Micheal “Eyedea” Larsen in the mid-90’s, and the two soon began a working relationship that would eventually play a prominent role in the burgeoning Indie-Rap movement of the time. Together, the pair developed a near symbiotic

creative union that produced three albums—First Born; E&A; and By The Throat—a catalog animated by the burning fusion of Eyedea’s introspective and technically adept rhymes with Abilities’ precise scratches and versatile production. Tragically, his partner Eyedea passed away in 2010 leaving Abilities to soldier on by himself, but the influence of their partnership continues to shape DJ Abilities’ music to this day.

His latest project, Phonograph Phoenix, finds the DJ/Producer returning to the forefront and embracing an entirely new approach to making music. A departure from previous work that was primarily sample-based, Phonograph Phoenix finds Abilities opting to build the album’s compositions from the ground up, creating his own sound through Ableton Live and various soft synths, with razor sharp cuts and select vocal chops providing a voice where his fallen partner may have once stood.

Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs featuring his hand-picked tracks that correspond with his and Island's legendary history. On October 29, Island Records / UMC will release the third volume of The Vinyl Series, an 18-track double LP compiling some of the label's key releases of the late 1960s and early '70s. Volume One included pivotal songs from 1962 to 1969, and Volume Two, released over the summer, covered the years 1969 to 1973. Taken together, the sets explore the wide-ranging highlights from Island's remarkable and extensive catalog. This volume of The Vinyl Series includes material which remained rooted in the folk and acoustic-based styles that were crucial to Island's foundation. That side of the label's history is represented by Nick Drake's "Way to Blue" (from his first album, Five Leaves Left) and "Late November" by Sandy Denny, which first appeared on a 1971 label sampler. But it was Cat Stevens who was identified most commonly with Island in the U.K.—he "continued to be Island's biggest seller," notes Blackwell—and this album contains his 1971 global smash "Morning Has Broken," an adaptation of a Christian hymn.

Cinema Paradiso is proud to present the Ghost World soundtrack, released on vinyl for the very first time, as a double gatefold LP.

A film adaptation of the popular Daniel Clowes comic of the same name, Ghost World starred Scarlett Johannson, Thora Birch and Steve Buscemi, becoming a critically acclaimed cult favourite immediately upon its release in 2001. As he did with Crumb, director Terry Zwigoff has created a soundtrack as eclectic and riveting as his movie subjects. The sounds of early jazz and blues play a crucial role in the events of Ghost World - the music heard here is some of the best ever recorded.

Skip James's classic "Devil Got My Woman" from 1931 may be the best-known work on this soundtrack, but it hardly steals the show. Three tracks from weird but riveting jazz-meets-calypso bandleader Lionel Belasco are included; the 70-year-old recordings are so original, they sound timeless. The same praise can be stated of film opener "Jaan Pehechaan Ho" a Bollywood rarity that has elements of surf music, funk, and garage rock. Of course, we also have to hear "Graduation Rap" and Blueshammer's "Pickin' Cotton Blues" two intentionally bad contemporary tracks that make the characters in the movie (and anyone listening to this soundtrack) feel out of place in today's pop culture.
Zwigoff wisely fills out the LP with tracks from his personal 78 record collection, a mix of '20s and '30s string band and blues tunes that are seldom found in compilations (including great cuts by the Dallas String Band, Joe Calicott, and McGee Bros).
The haunting "Theme from Ghost World" composed by David Kitay, finishes off the second LP, perfectly capturing all the bittersweet moods found in the film.

On “First Flight REDUX,” Dave Harrington takes a scalpel to the multi-tracks of "First Flight" (LP/DL, Algorithm Free) remixing the raw material into something else entirely.

Originally recorded live at Nublu, September 20, 2019, "First Flight" documents the first and (thus far) only meeting of Chris Forsyth, Dave Harrington, Ryan Jewell, and Spencer Zahn as part of Forsyth's residency at the club that month.

Harrington's dub, created in his Los Angeles studio uses the original tracks improvised live by the group and incorporates loops and samples plus a variety of additional keys and synths, bass guitar, percussion, congas, pedal steel, bamboo flute, the Turkish stringed instrument cümbüş, and the North African double reed instrument ghaita, all played by Harrington himself.

While the light of the original performance recognizably shines through the canopy of new sounds in certain places, “First Flight REDUX” is radically reconstructed into something totally NEW. It’s very much its own album, related to and derived from “First Flight,” yes, but venturing into areas unforeseen in the original document, suggesting some kind of a party with “Live/Evil” blasting on one set of speakers,“Midnite Vultures” on another, and a Turkish psych band jamming in between.

Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.

Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.

Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.

International power duo Dasom Baek (traditional Korean flutes) and Violeta García (cello) present their debut album. is the sound of two leading composers and improvisers pushing their instruments to the technical and creative limit, then beyond into places unnavigated, futuristic and often haunting.

Dasom and Violeta tussle with playful and at times brutal mastery between passages of sparse melody, acrobatic percussion and harmonic drift, while interjecting voices fracture and reassemble into intimate, improbable forms. It is hard to imagine an album more abundant in ideas and motifs, all atomised as soon as they are brought to life. The effect is a tapestry of rugged spirits - moving, and at times just plain beautiful.

Recommended for fans of Okkyung Lee, John Butcher, Messiaen, or Ernst Reijseger.

Dasom Baek is a composer, improviser and performer of traditional Korean instruments, mainly Daegeum, Sogeum. Dasom pursues ground-breaking and modern music rooted in traditional Korean instrumental performance. She is a Certified Master of Important Intangible Cultural Asset, no.45. She has achieved Bachelor's and Master's degrees from the Korea National University of Arts, and is currently undertaking a PhD course at Seoul National University. She has also represented Korea at the International Flute Festival. In 2019 she was selected as a fellow for the OMI Music residency in New York, collaborating with various genres of musicians from different countries. In 2020, she released her debut album, titled . In 2021 she was selected as a showcase artist at SXSW Festival.

Violeta García is a cellist, improviser and composer born in 1990 in San Nicolás de los Arroyos, Buenos Aires, Argentina. She studied at the Conservatory Astor Piazolla, and holds a degree in Composition from the Conservatory Manuel de Falla, with Ricardo Capellano. She also has a degree in Musical Arts, specialising in violoncello, from the Universidad Nacional of Arts (U.N.A).

After being championed by John Digweed on his iconic Transitions radio show, London duo The Pressure team up with Digweed and his long-time studio partner Nick Muir on Counting Down The Days, a soaring, hypnotic, emotive progressive house cut that points to brighter times ahead.

The Pressure are a London-based electronic band. Diverse production and energetic performance form the pair’s foundations, with influences from rave culture and performance-centric dance acts such as Depeche Mode and Underworld prominent across their releases and live shows.

2020 saw them self-release Ride and Planes: two tough club tracks with songwriting at the heart of them. A statement of intent from the duo, both cuts showcased a varied production approach reminiscent of the Bristol-era of UK electronica. Earlier in 2021 they made their debut on Undisputed Music with Saturday Night, a distinctive dance cut that sat somewhere between deep house and crossover electronica, and has to date clocked up more than a million streams across all platforms.

John Digweed is one of the most celebrated electronic artists of all time, and alongside Nick Muir is responsible for an incredible catalogue of music, so even before you listen to it you know this is going to be something special. Counting Down The Days is a stunning collaboration, combining the pure, driving progressive house of Digweed and Muir with the poignant emotion and raw talent of The Pressure to incredible effect.

Passionate about breaking records and being immersed in the music that fuels our most cherished dancefloor moments, Undisputed Music is doing just that with a coalition of existing and new artists spanning many electronic genres, lining up releases to illuminate audiences across the globe.

Founded by industry aficionados Tony Garvey and Marc Thomas, they share over two decades of experience between them. From currently running the UK Electronic roster for world renowned management company, Red Light, to many years within the walls of, Island Records, Def Jam, Priority Records, MCA / Motown, AM:PM, Defected Records, Strictly Rhythm and Universal Music Publishing, their wealth of knowledge is well earned.


DJ Support:

Pete Tong, John Digweed, Nick Muir, Taiki Nulight

Tiptoes joins the SlothBoogie roster this October with the ‘Good Times Incoming’ EP, comprised of four originals from the Scottish artist.

Hailing from Glasgow, Scotland, Tiptoes is a time-served DJ/Producer who has been in the game for over 15 years and has performed at a variety of venues worldwide. As a DJ, Tiptoes sound traverses from Jazz to Jungle through Detroit, Disco, Techno, Garage, Broken Beat, Deep House and everything in between, always finding that balance between energy and soul which crosses over into his productions also.

Up first on the package is ‘Born Slippery’, a filter house workout fuelled by an amalgamation of funk infused bass, guitar and brass licks alongside swinging drums and dynamic filter work. ‘Green Room’ follows next and lays down soulful strings, stuttering vocal cuts and plucked bass atop an organic drum groove.

Opening the flip-side is ‘Right Here’, stripping things back to robust drums, jazzy keys and processed vocal chants before ‘Alright’ rounds out the release via airy keys, moog like synth licks and crunchy lo-fi percussion.

Following his summer anthem ‘Nah’ which has achieved 6M global streams in the first 5-weeks, Sonny Fodera announces his new album Wide Awake.

Releasing on 22nd October, Sonny gets ready for his most ambitious studio album to date. Including a variety of a-list collaborators and vocalists including Sinead Harnett, Diplo, Ella Eyre, Sam Tompkins, Dan Caplen, MK, Vintage Culture, Bru-C, and many others. Sonny is set to showcase his versatile and in-demand production palette with dancefloor weapons, crossover anthems, a touch of garage and more.

The new album will also land in the midst of Sonny’s sold-out UK and US tour, where his new album will come to life. This summer has already seen him sell 12,000 tickets at his Back To Love co-headline festival with Gorgon City in London, with more sold out shows at the likes of Liverpool’s Bramley Moore Dock, Manchester’s Victoria Warehouse, and London’s Printworks to come, as well as a double header in Los Angeles at Exchange + Academy.

With over 300M streams to his name in the past year alone, Sonny Fodera’s Wide Awake album is set to cement the elite producer and DJ’s legendary status in the dance world and beyond.

The 2nd release of "fukuinn" label has brought together 4 groups of cutting-edge artists who are active in Europe.Do_1 & GGGG is the first. His details will not be disclosed, but it is a destructive sound by French nice guys who have been active in the electro and braindance scenes of the last few years.A2 is Weith. He presides over Brainwaves and has released tracks on many labels. Italian producer Caramel Chameleon who is also active in 030303 Records. The moving IDM sound is a must listen. Featured newcomer Tadan offers a clear electro track that is unique to him. This release is packed with variety of electro and acid tracks. Vinyl only!!

Hospital Records are excited to unveil the third instalment of their ‘Future Symptoms’ VA EP series. Pressing deeper into their journey to discover and showcase some of the very best talent within the world of drum & bass, ‘Future Symptoms Vol. 3’ features Nectax, MYKOOL & Lost Child, Mr Joseph & Phoebe Freya, and Jam Thieves.

In March 2020, the Omakase team decided to gather some producers, musicians and singers they knew around a collective project, having the large electronic music spectrum as principal axis. From this idea was born, a few months later, a multiple opus, varied, rich of textures, shapes and influences going from trip-hop and bass to ambient, breaks, beat, house, lo-fi and jungle. This compilation, first record of the label, regroups several talented artists from the modern electronic
music scene who try to question sounds of today and tomorrow.

Repress

smokey blue vinyl / vinyl only

Special project with an all-star lineup.
Pressed on clear, solid blue & black mixed vinyl with black labels.