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King's X is the self-titled eponymous fourth studio album by the metal trio King's X. The dark side of their music and song writing is experienced throughout this superb record. The requisite instrumental virtuosity is, as always, hard to ignore, but where this album really shines is in the quality of its vocal performances. This album is not a traditional metal album by any stretch of the imagination, but is a great addition for any music fan in the rock and metal scene. Compact songs are widely covered on this album. With their dense and transparent sound they're one of the strongest acts from their time, and that's exactly what they're showing on this album.

The American rock band King's X combining elements of progressive metal, funk and soul in their versatile sound.

King's X is available as a limited edition of 1000 individually numbered copies on solid moss green coloured vinyl.

This collection brings together rarities from well-known artists like Abstract Truth, Suck, Otis Waygood, Freedom's Children, John & Philipa Cooper, McCully Workshop and Hawk, as well as lesser known acts like Buzzard, The Fireflies, The Idiots, Tidal Wave, and The Invaders. Although the South African rock movement of the late sixties and early seventies was not a major commercial success, its participants heralded an exciting new age in South African rock and started a movement aimed at changing the musical tastes of fans in a spectacular way. Stadium concerts became the vehicle for feeding the youth with heavier rock sounds, and behind studio glass were producers like Clive Calder, Billy Forrest, Graham Beggs and Selwyn Miller who acted as change agents to transform conventional pop into heavier 4 to 5 minute songs. The movement's struggle for recognition through airplay remained unanswered and only the true fans of rock knew about their existence. Licensed by the Fresh Music label in South Africa and available on vinyl for the first time, complete with insert and liner notes.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Welcome to the strange musical world of Tolley & Dara, an experimental duo whose incredible music held a marginal yet vital position on the fringe of the Australian music industry during the late 1970s and early 1980s.

Consisting of jazz bassist and synthesist David Tolley and percussionist Dure Dara, their union was a relationship of romance and intense creativity, a deep spiritual bond consecrated amidst banks of modular synthesizers and racks of exotic percussion instruments.

Recorded over a series of live performances in the spring of 1979, the music featured on Cutheart was edited and assembled from eight improvised pieces recorded at the Universal Theatre Melbourne. Comprised of analogue synthesizers and a vast array of tuned and non-tuned percussion, Tolley and Dara sculpted a cluster of electronic abstractions and organic splashes of Gamelan-influenced percussion; a dense otherworldly soundscape coloured with trance-like vocal scatting and deranged muttering.

Known for his bass playing on the classic Australian jazz-rock album Carlton Streets by The Brian Brown Quintet and also as a member of EX-, (the collaborative project with Daevid Allen from Soft Machine/Gong), Cutheart sees Tolley explore the outer realms of heady improvised electronic music.
While the music of Tolley & Dara exists in a sonic universe all of it's own, similarities could easily be drawn to another likeminded musical partnership, the American husband and wife duo Annette Peacock and Paul Bley. Cutheart is a pioneering recording of extended synthesiser and percussion technique from the Australian experimental underground.

Tropical Disco plucks out a spellbinding salvo of heaters for Tropical Disco Volume. 7, dished out on suitably heavy wax.

Moodeena's 'The Horns' boldly kicks off the record, effortlessly weaving together elements of funk, soul and afro, influenced by a myriad of far-reaching regions. The earworm of a bassline subtly leads the piece, morphing, dipping and then reassembling as the brass resurfaces, creating a tender, palpable sound palette. On the flip 'What Da Funk's playful track title doesn't reflect its cultivated build, and no doubt lethal functionality on a dancefloor.

Titillating strings are the driving force for Tropical Disco newcomer Sammy Deuce's input, bringing a burning, high-energy ode to golden-era disco with 'Smack My Strings Up'. Hot on the heels of a series of well received releases on labels such as Glasgow Underground, Club Session and Big Love, Sammy deuce offers up a rare guest track on the label that pairs perfectly with a recipe Sartorial and Moodena have refined so successfully.

Sartorial closes the EP with 'Little Love', a carefully plotted symphony and formidable sign off for the release. Hustling a creamy bass and slowly swooning vocal, this audio aphrodisiac will have dancers headed straight to the bedroom...

Tropical Disco's back-catalogue of quality nu-disco obscurities is building thick and fast, and the latest package is a diamond in a gleaming gold mine.

Support across Mi Soul & House FM.

Following On From Their Breakthrough Album "ego Death" This Is The Internet's 4th Album. A 14 Song Album Available On Double Lp And Single Cd. Described As Kaleidoscopic Neo Soul.

larry Jon Wilson He Can Break Your Heart With A Voice Like A Cannonball.' - Kris Kristofferson. Larry Jon Wilson Came To The Party Late. When He Arrived In Nashville, Country Soul Pioneer Tony Joe White Had Already Made Six Albums. Townes Van Zandt Had Made Seven, Mickey Newbury Eight. Kristofferson, The Accepted High Priest Of The New Nashville, Had Made Five. Larry Jon, By The Time He Arrived, Had Spent Ten Years In Corporate America. He Did Not Start Playing Guitar Until The Age Of 30, But Five Years Later He Released His Debut, New Beginnings (1975) And Followed It Just A Year Later With Let Me Sing My Song To You, Both On Monument Records. A Revelation Among The Hipsters And Critics Of Nashville, The Lps Ensured Larry Jon Was Immediately Embraced As Part Of The Mid-70s outlaw Country Movement' That Eschewed Slick Production In Favour Of A Raw, Gritty Approach. When A Film Crew Came To Document This Burgeoning Sound, They Made Straight For Larry Jon's Door. The Legendary Heartworn Highways (1981) Featured His Mesmerising Performance Of ohoopee River Bottomland', A Boogaloo Funk Monster. He Was A Singer And Writer Of Intensely Private, Painfully Moving Tales Of Southern Life. With His Deep, Papa-bear Voice, Funky Southern Groove, And Richly Evocative Narratives Of Rural Georgia, Larry Jon Was A Unique Stylist But His Gutsy, Greasy Sound Did Not Translate Into Sales.

Standard black double vinyl format of the album. Marketing activity to Xmas.

After the acclaimed 'Rather Not' mini album from 2016 TWINS (That Which Is Not Said) returns to Enfant Terrible... this time with a two track 7' vinyl... on the A-side you will find a synthpop / minimal elektro / cold wave tune with a metal beat reminiscent of John Foxx... the B-side features a harsh elektro piece... it is tense and uptight... almost techno even... this one could also have been fitting for a Gooiland Elektro release... and could (should) be a future dj favorite...

Pure heat coming from Sector 7 Family. Lemzly Dale back on the buttons, taking a sidestep from his very-own Pearly Whites imprint,with four cuts that cross the lines between o.g. grime, R&G, UK Funky and even a tinge of that rap & footwork kinda lean with those hi-hats and 808 snares flinging across big subs like it's nothing.

The godfather of acid house, DJ Pierre, is back - bringing four heavyweight Chicago cuts to the fore, two of which, 'Pinball Machine' & 'The Spirit' are unreleased, exclusives.

'Sexy Aquarian' showcases Pierre's unique style putting his trademark spin on this classic vocal, combining it with a bumping bass and dizzying acid lines, to trigger old memories whilst giving you something new for your mind, your body and your soul.

Next up 'Pinball Machine' goes in heavy on the percussion - filling those speakers with a barrage of weighty toms, crisp hats and crunched up snares. The frenzied synth line bounces around relentlessly, pinging off the sides of your brain like a sonic arcade.

Take to the flip for a lesson in how to take jackin' house to another level. 'Whats Mine is Mine' delves beyond the beat, mixing sassy vocals and spiritual organ stabs, with a touch of swing reminiscent of an era long gone.

Closing out the EP, 'The Spirit' utilises another treasured vocal layering it behind punchy drum programming, a rumbling bass and atmospheric touches that add an ethereal tinge to the track.

DJ Feedback:

The Black Madonna - We Still Believe / Liaison Artists - Excellent!

Eli Escobar - OH yes.

PBR Streetgang - 20/20 Vision - classic

Andy Caldwell - Nettraxx / Cr2 Records - Ooh so so sublime. Good shit here!

Tony Humphries - The Zanzibar / New York - Nice peak time banger.

Danny Howard - BBC Radio 1 / Nothing Else Matters - Aceeeee. Wicked vocal!!! Love the vibe

Although the band never released
an album during the years of their
activity, Wilde Flowers is certainly
to be counted among the foundation
stones of the Canterbury scene
of the mid-to-late Sixties. After
their departure from the band, the
members formed other two seminal
groups of the Canterbury Sound: Soft
Machine (Robert Wyatt, Kevin Ayers,
and Hugh Hopper) and Caravan
(David Sinclair, Richard Sinclair, Pye
Hastings, and Richard Coughlan).
The name is of course an homage
to Oscar Wilde, and this album is a
selection of some of their rarest gems
that originally came out in 1994.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

Franck Roger is back on his imprint Home Ivasion label for a new season with some dope upcoming House stuff and a brand new record design aswell

Do what you gotta do:

Franck and Mandel team back together for this Chicagoan Dub track wich provides vocal hooks and stabs wich also reminds us some old Prescription Records or Derrick Carter stuff..

The Deep:

The Deep bring us back to the good old days of the French Deep House scene wich was run back in the days by The Deep aka Dj Deep and Julien Jabre and a little Playing 4 the City vibe aswell in a modern way of editing and sounds.. The Deep got this hypnotic groove driving thru vocals hooks, piano stab and a massive bassline...Free ur mind, free ur soul.

Third album from U.S. Hip Hop rapper, singer and producer.
The album has already charted Top 10 ahead of the 17 song physical release. Includes the Top 10 hit single "Sicko Mode" and more to follow. Radio support across R1, Capital, Kiss, ILR, with playlists and ads. Online, social media activity. Ads, features, interviews and reviews across all press. Video plays at Vevo and MTV.
Just moved to November 9th.

Bruce - Aka Larry Mccarthy - Is Set To Release His Debut Album Sonder Somatic This October On Uk Imprint Hessle Audio. The Album Packs 11 Singular Uk Club Tracks That Evoke A Distinctly Emotive And Dense Energy, Channelling Detailed Sound Designs, Tangled Textures And Club Anthems For 2018 And Beyond.

The Record Is Deeply Varied In Styles, Ideas And Tempos, From The Tight Rhythmic Groove Of Album Opener 'elo' To The Weaponised Onslaught Of Ominous Club Cuts 'what' And 'cacao' - Through Drifting, Meditative Techno And The Skeletal Sound Design Of 'ore' And 'baychimo.' Each Track Shifts The Tonal Mood In Subtle And Distinct Ways, Whilst Retaining A Consistent Icy Sound Palette Infused With Colour And Human Warmth.

The Shapeshifting Hessle Audio Imprint Is Run By Pearson Sound, Ben Ufo And Pangaea. For Over Ten Years, Through Their Combined Tastes They Have Continued To Unravel And Explore The Edges Of Sounds And Ideas From The Wider Dance Music Scene, Across The Boundaries Of The Functional And The Experimental, With Consistently Innovative Results. As A Long Time Follower Of The Label, Bruce Wanted To Craft An Album That Continues Their Singular Attitude And Approach, Incorporating Vibes From Uk Soundsystem Music As Well As Music From His Home Town Of Bristol.

"from Being A Fan Of Their Work From The Very Beginning, It's Not Only The Music They Have Released That Has Informed My Taste/work, But Also The Journey They Have Formed Through The Application Of Their Attitude And Approach." - Bruce

Much Of Sonder Somatic Was Shaped By Bruce's Own Understanding Of Club Culture As A Whole, And Predominantly His Personal Relationship With It Both Professionally And Recreationally. The Album Was Partly Written As An Attempt To Capture That Rare Transformative Feeling That Can Cause You To Fully Lose Yourself In A Club Space, Disconnecting From Your Immediate Environment For A Short Time.

Sonder Somatic Follows Eps For Timedance, Livity Sound, Idle Hands And Hemlock, And Comes 4 Years After His Debut Ep 'not Stochastic' For Hessle Audio. The Album Pushes The Boundaries Of What Club Music Can Be Whilst Expertly Refining His Work As Both A Club Producer And An Experimental Sound Designer. With A Unique Sense Of Flair That Sets Him Apart, Sonder Somatic Is Set To Raise Bruce's Profile Across All Corners Of The Dance World.

Debut physical release from Scottish newcomer Andrew Greens AKA Ash Is. Hailing from Edinburgh and at the heart of club culture in his city, he is running parties and sharing stages with the likes of Baltra, Bwana, and other forward thinking international artists. This release comes packed with 3 affecting club tracks, each serving a different purpose. Ash Is fuses elements of rave, house, techno, and electronica to serve up moments of euphoria & tenderness. Fluttering arpeggios, dusty breaks, warm pads & feeling laden melodies often feature, capturing a sense of post-club emotion. These are three heavy hitting cuts that truly carve out a lane of his own.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

Corduroy's third album 'Out Of Here' updated their sound, taking in
1970s influences that would later be defined at yacht rock. The
Iconic cover with the band about to take off in a bubble-fronted
helicopter the album shows the band at the height of their powers.
The track features the Top 75 hit 'Mini', the anthemic tribute to
Japanese jazz star Monday Michiru 'Don't Wait For Monday' and their
reverent cover of 'Motorhead'.
Available on LP for the first time in two decades, it comes pressed on
shiny blue vinyl, re-mastered from the original tapes.
The perfect companions to the comeback album 'Return Of The
Fabric Four', which was released earlier this year.

Yuri Méndez's 7th album is called W. W is a collection of finely crafted songs. The instruments are many and their intonations, variegated. W comes in the usual formats, only better, and full to the brim with sensitive lyrics for the man and woman of today.

On the other hand, presumably the left, Yuri's ageing well and intent all the while on writing more numbers in order to keep a steady flow of fresh material ready at any time.

These are good times in W land or, as the poet said, 'it hurts a bit, but the colours are admirable'.

Yuri Méndez is Pajaro Sunrise. Initially a duo, he's been working on his own ever since the release of the second album, 2008's Done/Undone. His previous albums received praise from such fine publications as Q, Uncut and Monocle, and his music can be heard in several international motion pictures and TV series such as The Missing Lynx, Castle, The Big C, Catalan hit series Cites and Benvinguts a la família, and ad campaigns by the likes of McDonalds and Vodafone.

15 Jahre nach seinem frühen Tod feiert - The 20th Century Records Albums (1973-1979)' Barry White als einen der größten Künstler / Songwriter / Produzenten der 70er Jahre. Er etablierte den neuen Klang der Orchesterseele, der über das Jahrzehnt und darüber hinaus zu einem Grundbestandteil wurde. Das Vinyl-Box-Set enthält alle 9 LP-Alben, die Barry White über das Label 20th Century Records veröffentlicht hat und werden hier zum ersten Mal zusammengestellt. Alle neun Alben wurden zum ersten Mal seit ihrer Veröffentlichung in den 70er Jahren von den originalen analogen Masterbändern remastert und werden hier mit ihrem originalen Sleeve und Label Art präsentiert. Die Alben wurden in den Abbey Road Studios in London auf hochwertigem 180g Vinyl geschnitten, um die höchstmögliche Audioqualität zu garantieren.





















































[ZZA] q4 | Oh Me, Oh My (I'm Such a Lucky Guy)
[ZZB] r1 | I Can't Leave You Alone
[ZZC] r2 | Call Me, Baby
[ZZD] r3 | How Did You Know It Was Me

Standard Edition, Mastered at half speed, 140g vinyl, Sticker We Release Jazz (WRWTFWW Records' new sister-label) is thrilled to present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream (1977) by Hokkaido pianist wunderkind Ryo Fukui, released in conjunction with the its legendary predecessor Scenery, sourced from the original masters and mastered at half speed. Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent 'Mellow Dream' and 'My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic 'Baron Potato Blues' or the gigantic McCoy Tyner/John Coltrane-influenced 'Horizon' which sees each member of the trio (Satoshi Denpo is on bass and Yoshinori Fukui is on drums) demonstrating their virtuosity for 9 exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, reminding us that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back to back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing 2 live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore.

David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.

DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.

The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.

Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.

DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.

The first LP release for connected comes from Nandu and as with his previous EP releases the LP is a unique genre crossing palette containing elements from Deep House,House,AfroHouse,Electronic Techno and beyond brought together in Nandus' original style. Truly an LP that begs to be listened to from start to finish. In Nandus' own words: 'One mans high can truly be, another mans anxiety. In some parts of life this is very clear like having a baby, do drugs, to work, not to work, be an artist, be a banker and so it continues. Yin & Yang and the whole idea of duality is another way to describe this. When you go left you say goodbye to right - at least for the moment you choose left. What you choose is up to you. It wasn't always my dream to get up at 3pm to change diapers, but it was always my dream to have a family. And here the sacrifice is not even mentionable. It's more than worth it. But when you sometimes in life make a choice that you regret but which always will follow you, or when uncontrollable powers force you into another direction, it can easily switch the poles between high and low. In these cases you just have to look forward, but not without looking back. You need to learn, take it with you, and do better next time. This album is about how my highs also can be my anxieties."

To put it simply, 'True Meanings', the fourteenth Paul Weller solo album, the twenty sixth studio album of his entire career, is a record unlike any he has ever made before.

'True Meanings', is released on September 14th and is an album characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul's better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it is both an album that a lot of his faithful audience have been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

On the 25th May this year, Paul Weller turned 60: a milestone that has unquestionably had an impact on the feel, both lyrically and musically, of 'True Meanings' which comes across being the most singer-songwriter-style album he has ever made. However, it is also the most collaborative: with more guests than any record he's been involved in before.

As well as all the members of Weller's band, Rod Argent of the Zombies provides Hammond organ on 'The Soul Searchers' and piano and Mellotron on 'White Horses'; folk legends Martin Carthy and Danny Thompson add picked guitar and double bass respectively to 'Come Along'; Little Barrie plays lead guitar on 'Old Castles'; Lucy Rose sings backup on 'Books'; and 'Movin On' is the result of a 'scratchy demo'on Paul's phone that was sent to Tom Doyle of the White Label project. Even Noel Gallagher makes a sneaky appearance.

Perhaps most surprisingly of all, especially given how personal and introspective 'True Meanings' feels, lyrics for four of the fourteen songs here were written, to Weller's melodies, by others. Connor O'Brien from Villagers came up with the words to opener 'The Soul Searchers', while 'Bowie', 'Wishing Well' and the closing 'White Horses' are all the work, lyrically, of Erland Cooper from Erland & The Carnival.

'True Meanings' was produced by Paul Weller except 'The Soul Searchers', which was co-produced by Paul and Conor O'Brien and 'Movin On' which was co-produced by Weller and White Label. The album was engineered and recorded by Charles Rees and mixed by Jan Stan Kybert.

The album was recorded in just over 3 weeks at Paul's own Black Barn Studio, with the aforementioned, revolving cast of characters dropping in for a day here and there. The orchestration was added soon after, and that was that. It is always a good sign when the recording of an album is swift, and here you can just hear that the man at the centre of these songs is as focused and inspired - more inspired, even - than he has ever been.

Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its danceoor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with ve albums and two dozen EPs plus millions of miles in the rearview of his biography.

Bunny is the name of Matthew Dear's fth album. His rst since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modanil Blues' and the buoyant, blithe, Tegan and Sara-featuring 'Bad Ones.' Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.

Studio One Freedom Sounds Is The New Collection From Soul Jazz/studio One Focussing On The Intense Period In The Second Half Of The 1960s When Studio One's Vast And Unbeatable Output Of Ska, Soul, Rock Steady And Reggae Made It Literally One Of The Hottest Musical Empires In The World.
During This Highly Successful Period, Clement 'sir Coxsone' Dodd Released Hundreds And Hundreds Of Superlative Singles Seemingly On An Almost Daily Basis, In The Process Making Huge Stars Out Of Jamaican Singers Such As Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel And Many More.
Powered By The Finest In-house Musicians Working In Jamaica, Whether It Was The Skatalites, Jackie Mittoo's Soul Brothers, The Sounds Dimension Or The Soul Vendors, Studio One Functioned As Hit Factory On The Scale Of Motown In The Usa, Shaping And Defining Reggae Music For Decades To Come.
Singlehandedly Studio One's Founder Clement Dodd Was Able To Create The Most Successful Vertically-integrated Record Company That Jamaica Had Ever Known With Pressing Plant, Printers, Studio, Shops, And Sound Systems All Running At Once, With Over 50 Employees And Hundreds Of Artists Working With Studio One During This Time.
Studio One Freedom Sounds Tells The Story Of Studio One In The 1960s With A Stunning Set Of Ska, Soul, Rock Steady And Reggae Killer Tunes As Well As Informative Sleevenotes And Track-by-track Info By Noel Hawks. The Album Is Released As Heavyweight Double Vinyl (+ Free Download Code), Deluxe Cd And Digital Album.

- Chas & Dave - Gold brings together the Greatest Hits of Chas & Dave.
- 180G Heavyweight Gold Vinyl with Original Artwork housing the Very Best of Chas & Dave.
-Classic Tracks including Rabbit, Ain't No Pleasing You, Gertcha, Margate, Snooker Loopy, London Girls, The Sideboard Song (Got My Beer In The Sideboard Here) plus many more..






(Got My Beer In The Sideboard Here)

Having Previously Released Some Rare Solo Material From Ende Shneafliet Member Hanjo Erkamp Aka Dr. C. Stein, Artificial Dance Is Now Serving Up Something Special From The Cult Dutch Minimal Wave Band's Lesser-known Side Project, King Ende Shneafliet. The Result Is The First Ever Vinyl Release Of Tracks From The Outfit's Cult Dimension Mix Series.
Adding king' To Their Name In Honour Of Original Dub Maestro King Tubby, King Ende Shneafliet Produced Far More Experimental And Out-there Material Than Their Better-known Big Brother. They Released Their First Cassette, Dimension Mix Chapter I In 1981 Via Cult Label Trumpett, With Batches Of Follow-up Material Trickling Out On Various Obscure Tapes And Later Cd-rs Up To The Year 2000.

Artificial Dance's First Dip Into The Dimension Mix Archives - A Second Vinyl Volume Will Follow Later In The Year - Features Selections From Chapter Ii (1999), Which Was Originally Recorded Between 1981 And '88. The Magical, Mind-altering Music Is Raw, Lo-fi, Spaced-out And Forward-thinking, Combining Effects-laden, Sample-heavy Sound Collages And Reverberating Ambient Soundscapes With Pulsating Proto-electro Jams, Moody Minimal Wave Instrumentals And Kosmiche-influenced Throw-downs. It Effectively Joins The Dots Between Early-80s, Diy Electronic Exploration And Dub Soundsystem Culture.

The 8 track album features new collaborations with DJ Phil, Gantman, DJ Paypal, and Sirr Tmo, and a previously unreleased classic from 2013, co-written with DJ Rashad. WFM will be available in Vinyl and digital formats on September 7th 2018. Listening to WFM, the first thing that jumps out at you is Heavee's masterful use of synthesizers and sound design. You get the sense that these elements have been lovingly crafted during countless hours of sonic experimentation and invention in the studio. As Heavee explains, the primary focus on synths represents a departure from his usual creative process: 'Usually in my method of production, synths or sounds come somewhat close to last, likely after I find structure or rhythm. Basically, it's not something I particularly go for first, but this time around they became the building blocks'. Heavee has made a conscious decision to challenge himself, adopting a different approach to his past productions. In doing so, he moves away from the familiar sampling techniques which characterised his earlier work: 'I am a child of the last days of ghetto house culture as it shifted into juke/footwork. My parents, aunties, and uncles played house and ghetto house music at family functions, BBQs and house parties. That's my roots and where I came from. However, on this record, I chose to stray away from vocal samples, to give myself room to grow in different areas.' Heavee finds his voice in emphatic fashion on Cloud Ride feat. DJ Phil. His lyrical content and flow are on point as the track flips seamlessly from hip hop to footwork and back again. DJ Phil features on 3 tracks in total, a reflection of Heavee and Phil's close friendship and musical connection. As Heavee explains: 'Phil's studio is a safe space for me. Whether he is in the room or not, I don't feel weird about trying something that might be silly, taking it to the next level, or coming from a place of pure inspiration. Phil has historical, musical and cultural knowledge relevant to Chicago. He shares a lot of invaluable knowledge with me' WFM features It's Wack a classic collaboration with DJ Rashad that still sounds fresh today. Heavee remembers how Rashad would always stay connected, even during his relentless touring schedule: 'We'd get calls no matter where he was. We would talk about everything! He ALWAYS had new info; what new music was popping, scenes that were really accepting or supportive of what we were doing, blends that made the party go off, sites, adventures and just fuel us with support from him and give us living proof of the global support that was to come and the journey that was ahead of us.' Although Heavee makes music with the dancefloor firmly in mind, the sheer quality of his music transcends that space. So sit back and enjoy the next chapter in the Teklife story. All that remains is for Heavee to sign out with a message for the worldwide Teklife family: 'First, Thank you to everyone who supports what I do as an Individual, and Teklife Music as an entirety. You don't understand how much your support means to us, it literally keeps us moving. The takeover is far from over! Second, thank you to everyone involved in this project, I couldn't have made it without you. This process taught me so much about what it takes to become the person you want to be. It starts inside of you, and you have to really work for it, you can't wait and wonder. I feel beyond blessed to present this gift to the world, walking this journey of self -discovery through music with you!!!

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Genius work from the Detroit underground of the 70s - one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison - and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse - a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall - stepping proud in the new freedoms of the 70s, yet still swinging and very groovy.