Cerca:with you

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Oriental RARE GROOVE A trip to the oriental peninsula following the steps of the Lebanese disco of Elias Rahbani, cradled by the Morrocan Soul of Ouiness or trained by the Lybian melodies of Ahmed Fakroun...

Repress!

“This album has been built, robbed, destroyed, rebuilt, held up, postponed, cancelled, shelved, bootlegged, analyzed, exploited, slept on, supported, patiently awaited, and appreciated, long before you got your hands on this slim neat little package.

This collection of thoughts, songs and relationships has literally been on the verge of completion since 1997. It was intended to finally be released in 1999. Most of the songs were written between 1995 and 1998. However, from the first to last verse, it reaches as far back as 1988 and stretches forward up to 2001. Throughout this tedious, relatively arduous process, the people involved in this project have successfully delivered the intended message that was conceived, forged, and galvanized through its delivery. The understanding is the best part. Enjoy!”

Originally intended for release in 1999, The Best Part was shelved multiple times due to label politics, until it was finally released in 2001, as J-Live points out in his prologue above. Now it’s getting the much deserved re-issue treatment.

With an All-Star production team featuring Pete Rock, Prince Paul, DJ Premier, DJ Spinna, 88 Keys & Grap Luva, along with J’s crafted and precise lyricism, this is one not to miss!

2023 repress / Golden Vinyl

In 2010, electronic composer Arandel quietly released his first album In D on the then young InFiné label. At the time, the artist was strictly anonymous, put in the forefront its strict methodology of composition, and unleashed to the world what was destined to eventually break ground as a classic debut. The original pressing of that record sold out more than 10 years ago, and at long last is finding new life on gold limited-edition vinyl (including an enamel pin of the doodle that adorns the album cover). The record covers immense ground despite the strict “sonic dogma” put in place (every song in the key of D, and no samples allowed beyond what Arandel played himself). With these limitations aside, the record traverses a wide sonic map that covers classic, pristine Leftfield house, ambient experimentalism, and even mind-expanding psychedelia. As stated by The Line of Best Fit in 2010, "In D is an exciting, occasionally intoxicating and spirited album that owes as much to the spirit of its influences as it does to the desired mystery of its creator."

Crishi aka Dothedu, twistes the path of Pareidolia Recordings, proposing an Ep with UK acid house sounds reminding from the great Baby Ford, to master A Guy Called Gerald and 90s London vibes.

Going Nowhere Ep represents the missing link between present and past, a nu vision...can you feel this new generation on fire? Two of the tracks contain the voice of the London based vocalist Manuela Batas, a perfectly successful feature.

Everything began with a chat between Systematic label head Marc Romboy and his long time friend Paolo aka Dusty Kid. During the pandemic times they reminisced about the most exciting period of techno music, the beginning of the 90s and exchanged tracks which have blown them away. They listened to tracks on labels like R&S, Plus 8, Industrial Strength and all over sudden they came to the idea to create a concept where Dusty Kid would put his hands on four of his most favorite tracks from 1992 and 1993. The result is this Various Artists track album including new interpretations of four classic tracks which changed their lifes and were, have been and still are iconic. Check every single track and jump into a time machine which transfers you to the early 90s and the future at the same time

First album of the self-titled band ‘Sheikhs Shikhats & B’net Chaabi’, to be released in March 2023.

‘Sheikhs Shikhats & B'net Chaabi’ is a colorful and exuberant ensemble led by Laïla Amezian. Through this project, Laïla wants to pay tribute to the shikhats and ghanayats, female singers who fought for freedom of expression in 19th century Morocco through popular songs. She surrounds herself with Laurent Blondiau for the musical direction and 16 other renowned musicians and vocalists, including jazz saxophonist Toine Thys, tubist Michel Massot, trumpeter Pauline Leblond, young trombonist Nabou Claerhout and female singer-percussionists of the Sultanats B'net Chaabi.

The release of the album is accompanied by a concert tour in Antwerp, Brussels, Leuven and Rotterdam (NL), amongst others. Want a taste of their exciting mix of jazz, urban ethno and traditional Moroccan songs? They will drop a first single online on the 23rd of November 2022. Expect alluring melodies, enchanting vocals, breathtaking brass instruments and an explosive chaabi groove!

Spanky Wilson's 'Let It Be' is the lead single from her album of the same name back in 1970. The original version of the tune was of course written by John Lennon and Paul McCartney and was first recorded by The Beatles in the same year. Her version is a big band celebration with Spanky's gritty soul vocal soaring up top. The album features other lung-busting performances from Spanky such as on the raw and guttural soul of 'Bridge Over Troubled Waters' and the slower, more sentimental 'Love, Or Let Me Be Lonely'. Spanky has one of the most powerful and distinctive voices in soul and never was that clearer than on this classic.

Vitamina gives back energy with the 3rd Vinyl, this time presented by his resident dj.

4-track club-ready to make you sweat on the dance floor: get ready for some jacking snares, electric basslines and steamy vocals.

Tracks from Cromby, Annika Wolfe, DJ City and 131bpm.

Bladder Flask’s debut (in fact only) LP, originally issued by Orgel Fesper Music in 1981, is one of the most eclectic albums of the post-Industrial era. It is both challenging and perplexing… So, put down your puny instruments of normality and breathe in the frenzied fungal spores of Bladder Flask.

The fact that Steven Stapleton of Nurse With Wound is a big fan of this album is testament to its greatness: »I love Bladder Flask’s »One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling« and what a great title, perhaps my favourite ever. I must have listened to the album so much in the ’80s. I listened to it again recently and it was like welcoming an old friend.«

Personnel: Richard Rupenus, Philip Rupenus + Sean Breadin, John Mylotte, Nigel Jacklin Recorded at Wrongrong Studio and Spectro Arts Workshop 1980-1981 Audio Restoration & Mastering: Colin Potter @ IC Studio

I Can Only Be Me ist das jüngste Kapitel einer
unvergleichlichen posthumen Karriere und ein
bahnbrechendes neues Album in Zusammenarbeit mit
dem London Symphony Orchestra. Eva Cassidys
Original-Gesangspartien wurden isoliert und von neuen
Arrangements begleitet, die von dem Oscar-nominierten
Christopher Willis und dem Grammy-Gewinner William
Ross geschrieben wurden. Durch den Einsatz neuester
Technologien im Bereich des maschinellen Lernens wurde
die bestehende Gesangsstimme sorgfältig restauriert und
verbessert, um ein bisher nicht gekanntes Maß an
Klarheit und Tiefe zu erreichen. Das Ergebnis ist ein
gefühlvolles, atmosphärisches Album, vertraut und doch
anders, mit üppigen Klanglandschaften, die den
unverfälschten Gesang begleiten.

TOO $HORT BORN TO MACK PRESSED ON GREEN VINYL!

Originally released on July, 20th 1987 on Dangerous Music, Born To Mack is Too $hort's 4th studio album and re-released as his first major label release in 1988 on Jive Records. Long out of print on vinyl, this West Coast classic contains the 9+ minute track "Freaky Tales" which Snoop Dogg would state was highly influential, to such an extent that Snoop covered the song in ‘97 for the hip-hop covers compilation In Tha Beginning. Too $hort is one of the pioneers of West Coast Hip-Hop, commemorated with a street named in his honor - Oakland’s Too $hort Way dedicated in December of 2022. Too $hort continues to make music and plays West Coast classics and upcoming artists on his Rock The Bells radio show Don't Stop Rappin and is a member of West Coast Pioneers super group Mount Westmore

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle.
Der Pianist und Komponist Andrew Hill gehörte in den 1960er Jahren zu den visionärsten Musikern im Blue-Note-Stall. Tatsächlich waren einige der 12 Alben, die er zwischen ’63 und ’70 für das Label einspielte, ihrer Zeit so weit voraus, dass sie erst Jahrzehnte später veröffentlicht wurden.

So wie das brillante Album “Dance With Death”, das 1968 entstanden war, aber erst 1980 das Licht der Welt erblickte. Zu hören ist Hill hier mit sechs höchst orginellen Eigenkompositionen zwischen Post-Bop, modalem Jazz und Avantgarde.
Exzellente Unterstützung erhielt er bei der Einspielung von gleichgesinnten Modernisten wie Trompeter Charles Tolliver, Saxophonist Joe Farrell, Bassist Victor Sproles und Drummer Bill Higgins.

24 Jahre jung war der Trompeter Carmell Jones, als er 1960 von seiner Geburtsstadt Kansas City nach Los Angeles ging. Schon kurz nach seiner Ankunft erhielt der vielversprechende Youngster, den manche
mit Clifford Brown verglichen, dort einen Plattenvertrag bei Pacific Jazz.

1961 konnte er für das Label sein phänomenales Debüt “The Remarkable Carmell Jones” aufnehmen. Im Zusammenspiel mit Tenorsaxophonist Harold Land, Pianist Frank Strazzeri, Bassist Gary Peacock und Schlagzeuger Leon Pettis präsentierte er auf dem Album eine hochinteressante Mischung aus Cool Jazz und Hardbop.

Der kanadische Sänger und Songwriter Chiiild veröffentlicht am 03.03.23 sein zweites Album „Better Luck In The Next Life“.

Mit seinem genre-übergreifenden Mix aus Pop, RnB, Soul und Jazz gilt Chiild als einer der aktuell spannendsten kanadischen Künstler. 2020 veröffentlichte Yonatan Ayal aka Chiiild seine von Kritikern gefeierte
Debüt EP „Synthetic Soul“.
Das Jahr darauf erschien sein Debütalbum „Hope For Sale“, welches als „Alternative Album Of The Year“ bei den kanadischen JUNO Awards nominiert wurde. Zu seinem neuen Album sagt Chiild: „My aim with ’Better Luck In The Next Life’ is to give you a look inside my mind.
Into the doubts & fears, ambitions, and a few connections along the way. It was a form of healing putting these real situations into songs. When everybody is out here on the same thing, we’re just out here levitating.”

„Better Luck In The Next Life“ enthält 12 Tracks, erscheint digital und auf Vinyl und enthält Features von u.a. Lucky Daye und Charlotte Cardin.

Axel Holy and Marka San deliver three songs off their first collaborative effort, the Chess (EP), available on limited 7" vinyl. "Strange World," "Parlez Vous," and "Chess," are the first offerings from the pair's EP.

All 7" include a free download code for the full EP.

The full 6-track features six original tracks with an incredible amount of depth: grime, hip-hop, and trap. Axel Holy delivers gritty UK grime vocals over Marka San's dark post-apocalyptic atmospheric soundscapes.

Bouncing nitty gritty beats and rhythms between Ljubljana and Bristol, Axel Holy and Marka San's goal of a small EP quickly turned into 20-plus songs. The duo handed the songs over to their label, rx:tx, to finalize the track list of what would become the Chess (EP).

Make sure you check out this exclusive 3-track release from Axel Holy and Marka San's upcoming Chess (EP). Don't miss out, get yourself a limited vinyl while supplies last!

Murmuur is audible in the dark only.
And shall be listened at high volume.
A side brings 180 BPM 45 RPM mental Industrial Hardcore... The flip goes Doom and Downtempo with atmosferic drops... landing on a thick fat pityless kick ! And then will come the last tune : a double tempo Doom thing, sober and apocalyptic !
All in one, Murmuur brings massives kicks & extreme sound designs. This reminds me a bit of Hangars Liquid sound...

Splendid bi-color plate (B&W), coming in a gatefold sleeve.
Records are sealed.

Expensive record for a single but really was expensive and also... shipment and customes from Australia were crazy...
Records' sleeves arrived in perfect condition to us :) That's already a good news ^^

ENJOY.


b A2 Death In The Forms Murmuur Remix

Belgium's Ahl Iver has become synonymous with the Lenske name since founder Amelie Lens singled out one of his demo submissions back in 2018. Since then, the young DJ/producer has dropped two EPs on Lenske whilst holding down a busy international touring schedule including regular appearances at Amelie's revered Exhale party series. 'Paradox' contains four dance-floor orientated cuts with the typical Ahl Iver sound that's steadily become a Lenske staple.

Opening the record is 'Reverse Psychology', featuring a thunderous kick drum, whirring sonics and industrial slams. Ahl includes a stripped back rave synth and siren combo with sharp stabbing sequences. Next up is 'Paradox', kicking off with a distant alarm, wicked keys and another blistering kick drum. The elements build together to form the foundation for the jacking vocal sample that dominates and drives the track onward, always with a singular acid line buzzing menacingly in the background.

On the flip is 'Rumble In The Jungle', kicking off with twisted and devilish effects that snicker and shoot across the hurried pace of the roaring kick. The track develops into a battlefield, with the initial mischievous sounds mimicking a frenetic laser fight, before stripping back the focus onto the main kick drum and singular percussive slap. Rounding off the record is 'No Salvation'. The track builds on the initial kick drum combo as well as an ever-present melody that gradually rises to the forefront of the track in a powerful takeover. There's a cinematic feeling to the cut created by airy elongated pads as the hook of the track, gliding and ascending under the harsher elements.

Crackled radio-like transmissions from Norway's rural hinterland. Juni Habel's fragile finger-picked lullabies warm themselves by the open fire with her rich intimate voice atop twinkling arrangements and strange percussive instrumentation. Like glowing embers in the dark, these songs are odes to life and death, the beauty of belonging and human kinship with nature.
Push open the door of the old school house in the remote flatlands of Southern Norway that Juni Habel shares with her close-knit family and climb the stairs; you’ll find yourself in a former classroom – the home of her new album Carvings. A songbook of life’s lessons offering an expansive perspective as it navigates personal shadows between darkness and light.
“I knew I wanted to write from a larger perspective. I wanted to write about the course of nature, and the people in it - life and death, beauty and tragedy.” Juni says, “loss - the search for the dead - grasping to find the words, and liberation of giving that up. I also wanted to explore my own kinship with nature - a sense of belonging, and notice what is around with gratitude and zest for life.”
This unyielding spirit of family and nature is etched into Carvings’ unschooled approach. With beauty in mock-simplicity and radiating humanity like the music of Tia Blake, Julie Byrne or Myriam Gendron, Juni’s songwriting unfolds on her own terms, and is the sound of facing whatever mother nature decides will find its way to the top of the list.
Recorded between the classroom (‘big hall’), the hallway on the 2nd floor, and her bedroom with simple gear and vocals laid down in a single take. Co-producer, musician and singer Stian Skaaden, became her melodic confidant and experimental co-conspirator halving the burden by building the album’s layers through blowing a pipe, playing bow on the banjo, bottles or glockenspiel. “With this album I wanted to lean deeper into the process. The title Carvings illustrates thoroughness. It was a vulnerable project, to strive for creating something truly beautiful, to pour my soul into it,” she says.
Uninhibited by the possibility of ‘mistakes’ and jamming until she struck gold, Juni confidently discovered the truest expression of herself. “It takes courage to do things ‘wrong’ with uncertainty, record lyrics which are strange but feel right, on crappy mics, it can be good to fumble a bit,” Juni says before tellingly, “the joy of playing is quite fragile. I have to protect it. You can't use your head, you have to be inside the song.”

Wipe your blade clean. The bloodline of Eastern European kosmische and groundbreaking, grinding cinematic psych rock finally emerges from fifty years of forbidden forestland to fill your thirsty grails. Poland’s prime progressive provocateurs Żuławski and Korzyński finally expose the jagged roots of Possession and The Silver Globe and give the devil his due via this historical vinyl release.

If an opening strapline that reads “Forget everything that you thought you knew about the history of psychedelic rock and horror movies” appeals to you, then further potentially hyperbolic phrases like “Lost Grail” and “Banned Forever” will surely clinch the deal, leaving the hugely significant wider context of this dream come true release surplus to requirement. But as we hope you have come to expect from Finders Keepers releases “The devil is in the detail” and the fact that any mention of the perpetually elusive original master tapes to a 1972 project entitled Diabeł and the phrase “Holy Grail” have become synonymously associated only adds the twisted irony that surrounds this genuine masterpiece of both aforementioned fields.

For those fastidious enough to pursue the hunt, these unearthed recordings represent the crowning glory of the lifelong unison of Maestro Andrzej Żuławski and filmmaker Andrzej Korzyński, two genuine mavericks of Polish experimental cinema who challenged artistic and societal norms, on both sides of a politically restricted regime and on an international artistic stage, without compromise. Friends since childhood, Korzyński and Żuławski may have become divided by limelight and geography (Żuławski the intrepid emigre), but they remained united in their kaleidoscopic creative vision, resulting in a fractured stream of troublesome and mind-bending golden era collaborations such as Possession, The Silver Globe, and Third Part Of The Night. This long-awaited liberation of the psychedelic masterpiece known as Diabeł finally completes the duo’s full vista with what many consider the most vital piece of the prism.

It may have snowed yesterday in New York, but summer is on the horizon. Yung Bae, whose real name is Dallas Cotton, wants to kick off the summer a little early with his new studio album: Bae 2.

Get ready for an explosion of disco, funk, hip-hop and soul with this album!

A session of electrifying and groovy hits. From track to track, it's a celebration of rhythm and dance. Tasteful samples that are blended into something new, and unique from their origin in this album.

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.
In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”
When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.
The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.
Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”
Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals).
NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

The 1990s were a time when hip-hop infused with R&B became pop music, and at the forefront of this movement was En Vogue. Their most commercially and critically successful album, Funky Divas, stands as one of the best pop/R&B albums to emerge from that time, incorporating soul, hip-hop, pop, dance, and rock to create one of the era’s most diverse, dazzling, and exciting pieces of work. The album scored no less than five hit singles, three of which became Top 10 pop hits. It includes the unstoppable “My Lovin’ (You’re Never Gonna Get It)”, which was one of the biggest hits of 1992 and additionally the remake of “Giving Him Something He Can Feel,” “Give It Up Turn It Loose,” and “Free Your Mind”.

Funky Divas is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl and includes an insert.

On her third album, Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, asks what guiding forces might be driving, enticing, and affecting us. “All Above” is rooted in her deeply personal philosophy as an artist, blurring the boundaries between electronic music and acoustic music and sculpting familiar ambient forms into personal themes painted with rich emotional colours. Written painstakingly over the last two years, the album is the most ambitious and divergent set of music Portioli has assembled so far, with a wide variety of instrumentation (including voices, strings, organs, guitars, and synthesisers) focused around the piano. She‘s keen to assure listeners that while that instrument isn‘t always heard, it‘s constantly at the forefront of the album, shepherding its emotions and anchoring its mood. It makes sense then that on the opening track ‘Quasicristallo’, the acoustic piano is the first element we hear, recorded closely, so its characteristic rattle and creak can speak as loudly as the familiar tones themselves. When the music blooms into abstraction and processed electronics, it‘s almost imperceptible: reverb mutates into ghostly vapour trails, and distortion forms the keys into another instrument entirely.

“All Above“ follows 2020‘s acclaimed “Blink A Few Times To Clear Your Eyes“ and 2018‘s “Pineapple” released on Donato Dozzy and Neel‘s Spazio Disponibile imprint. Having garnered praise from outlets like Resident Advisor, XLR8R, The Quietus, Inverted Audio, and The Verge, Portioli operates in a unique space within the electronic music scene, straddling the art world and the wider electronic music scene. She‘s developed sound art installations for Rome‘s La Galleria Nazionale and the Terraforma Festival-related Il Pianeta, and has appeared at Barbican, MUTEK, Le Guess Who?, Kraftwerk, and other internationally renowned venues and festivals, often collaborating with Marco Ciceri on A/V presentations. Ciceri also maintains the visual identity of Portioli‘s label One Instrument, a concept imprint that asks artists to create music only using a single device. All this experience is poured into “All Above”, a richly visual album that‘s far more than just an imaginary film score. While on ‘Human’, her piano punctuates a rhythmic synthesised bassline and smudged choirs that can‘t help but trace out the silver screen. The composer is keen to clarify that she doesn‘t think of her music (or sound in general) in visual terms.

Portioli studied as a linguist and used her art to develop an emotional language that‘s not bound by expected cultural constraints. When she adds a different instrument or process, it‘s not to reference a visual cue but to mark a journey through different states of being. Each element embodies a different emotion or mood: the electric guitar represents strength or violence, synthesisers shuttle us into the dream world, and the acoustic instruments highlight intimacy and warmth – even heart. Read like this, the tracks are like meditative poems rather than cinematic vignettes: ‘The World At Number XX’ is seemingly centred around a chugging synthesised arpeggio, but the cosmic, Klaus Schulze-esque pads, strangled guitar and evocative organ tones hint at the open-hearted, literate psychedelia of the 1970s; ‘In The Present As The Future’ meanwhile is breathy and windswept, juxtaposing urgent rhythmic phrases with light, flute-like gusts of harmony.

Dedicated to Editions Mego founder Peter Rehberg, who died suddenly last year, “All Above” demands engagement and refuses to evaporate into the background. The album asks listeners not just to absorb the album as a whole but notice the cracks in the structure and discern the tension they cause. That‘s never more evident than on the closing track ‘Cost What It May’, a piece of music almost jarring when Portioli chops into noisy waves of electric guitar. In the wrong hands, this might sound like a power move – some rock posturing to act as a finale. But Portioli‘s expression is different. She‘s forcing a level of engagement that perceives the negative space as just as necessary as the saturated positive, and what could be more haunting and emotionally resonant than that?

Composed, produced and mixed by Aimée Portioli.
Mastered by Stephan Mathieu.
Cut by Andreas Kauffelt at Schnittstelle, Berlin.
Photography by Federico Boccardi.
Design and layout by Riccardo Piovesan.

If we want to look into the future, we have to start considering the implications more holistically. All too often, science fiction is a dystopian projection of the current era's grimmest realities spiked with pragmatic historical hindsight - but what if instead it was able to reflect our needs, hopes, and dreams? On "SPINE", award-winning Danish composer SØS Gunver Ryberg considers a sustainable alternative, buoyed by interconnectedness, empowerment, and understanding. Channeling her dextrous sound design into advanced, time-bending music that fluctuates through techno, experimental ambient, and soundsystem-vibrating bass music, she maps out an artistic landscape that's futuristic and complex, but never oppressive.

Ryberg is an accomplished producer who's developed her sound over many years, playing concerts and working tirelessly on video game soundtracks, film scores, dance, performance, and multichannel installation pieces. Her first solo album "Entangled" appeared in 2019 on Berlin's esteemed Avian imprint, and was praised for its sensitive approach to noise and abstracted techno, while its EP-length followup "WHYT 030" was nominated for the Nordic Council's prestigious music prize this year. "SPINE" is the inaugural release on Ryberg's own label Arterial, and stands as a thematically dense statement of intent. The label provides a platform to extend Ryberg's artistic goals and reflect not just her world but a world she wants to see develop in the future: somewhere connected and creative, where exploration and free expression is prioritized over genre division and petty compromise.

This philosophy is central to the sounds on "SPINE", which have been carefully sculpted to accurately lay out Ryberg's worldview. Opening track 'Unfolding' presents a sonic ecosystem that flourishes as it spreads itself out, and quivering kick drums vibrate alongside unstable atmospherics. There's the faint fingerprint of Chain Reaction's notional dub techno in there somewhere, but Ryberg interrupts the thought before it can coagulate, assuring the listener that her vision isn't ponderous but playful and optimistic. This mood flickers into view again on the title track 'Spine', as fragmented breaks rumble beneath disorienting synths, faint images of a life we once knew refracted into cosmic beams of light. 'Mirrored Madness' meanwhile is warm, assertive, and optimistic, contrasting skittering cybernetic percussion with dense, enveloping harmonies.

When she pushes rhythm into the background, like on the cinematic 'We tumble on the edges', Ryberg's compositional skill is placed under the microscope. We're presented with the opportunity to examine another dimension of her work, the mystery beneath the stone, hearing saturated, alluring pads infused with hidden harmonies. In these moments, Ryberg implores all of us to consider the environment, asking us to think about the earth's essential nutrients on the dreamy 'Phosphorus Cycle', and what we might do to save ourselves on the delirious 'Where do we go from here'. Ryberg's concern isn't chastising, it's laid out in a warm embrace. The future could still be bright - there's something beautiful in the complexity if you just take the time to look closely.

Nestled within the fields and forests surrounding Oslo you'll find Raaja Bones. There, in Raaja's secluded studio surrounded by vintage synthesisers, modular equipment, samplers and drum machines, is where he makes music that owes as much to his personal tastes as it does his identity and upbringing. 'Black Dreams', released 2nd July on Snorkel Records, is where this venn diagram of influences overlap, from the shimmer of e-funk and the effortless grooves of soul to the unashamed, heartfelt honesty of 80s pop.

180 GRAM AUDIOPHILE VINYL
PVC PROTECTIVE SLEEVE
GATEFOLD SLEEVE WITH VELVET SPOT VARNISH ON THE OUTSIDE AND IMAGES OF ICONIC MOVIE POSTERS ON THE INSIDE
4-PAGE INSERT
A SELECTION OF DEFINING MORRICONE SONGS, FEATURED IN CLASSIC MOVIES AND SERIES “VERUSCHKA”, “SLALOM”, “ALIBI”, “VIOLENT CITY”, “MACHINE GUN MCCAIN”, AND MANY MORE
LINER NOTES BY CLAUDIO FUIANO
PART OF THE MORRICONE THEMES COLLECTION
THE SPINES OF THE FIVE TITLES FORM ONE IMAGE TOGETHER
MORE INFORMATION ABOUT THE SERIES ON MORRICONEONVINYL
BLACK VINYL

Lounge is the third in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

The term Lounge Music is not one that Ennio Morricone would have heard at the time he was composing these pieces for the movies that they enhanced, but it is one has been retrospectively applied to a certain type of music, and it is a style that Morricone has contributed a great deal towards.

Lounge refers to a type of easy listening music that began to be popular in the 1950s and developed right through the 1960s and into the 1970s. This was sophisticated music for an adult audience. Lounge music combined its American influences with music that was popular outside the USA such as Latin, Hawaiian, Polynesian, French , and many others. This was an era that was inspired by new inventions. Lounge mimicked the space-age sound effects of the time and the advent of stereophonic technology allowed spatial audio techniques to be used to full effect.

This collection is not about a specific genre of music for film, it is a celebration of Lounge style pieces by Morricone that are capable of evoking in the listener thoughts of easy living, sophistication, romantic moods, and the excitement of a 1950s cocktail lounge or a 1960s nightclub.

Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Lounge on black vinyl includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a velvet spot varnish on the outside and images of iconic movie posters on the inside.

Fontana's Debut Vinyl Release: "Buena Onda VA"

Barcelona-based producer Fontana is excited to announce the release of his debut vinyl, "Buena Onda VA." This record features 4 tracks from Fontana as well as 3 established producers based in Barcelona: Matteo Floris, Bass Playah, and Sergi. The vinyl is distributed by The Vinyl Temple.

"Buena Onda VA" is a tribute to Buena Onda Social Club, a member's only club that has become a hub for creativity and a home away from home for many artists in Barcelona. Since 2018, this club has hosted some of the biggest names in the house and club music scene. The vinyl is a snapshot in time of the importance of this place for the Barcelona music scene.

Filled with dancefloor ready hits, "Buena Onda VA" is sure to be a hit with fans of house and club music. Get ready to experience the energy and creativity of Buena Onda Social Club with this must-have vinyl release.

Norwegian duo dibidim, made their debut album Riders in 2005 in Liverpool UK. Until now this lost classic has only existed as an undistributed self-released CD. We have the pleasure of reissuing this forgotten treasure on vinyl for the first time, remastered and with new artwork. There is so much to delight the eye and caress the ears that you cannot fail to relish this fine piece of audio bliss!

Cocktail and power-bossa vibes meet shots of clavinet-funk in the new single by Milan-based producer Larry Manteca, a relentless creator of soundtracks for imaginary films in various genres – from the erotic to the spaghetti western, and from crime to zombie-horror.

Manteca's debut on 7" vinyl could only have happened under the aegis of Four Flies Records, whose team went and hand-picked two of the grooviest tracks in his bulimic output, both recorded in 2015 for the sci-fi/erotic-themed album Mutant Virgins From Pluto (the title says it all!).

"Ufo Bossa" is a delicious, uptempo bossa-jazz number cast in an ultra-lounge style and spiced up with references to Les Baxter's and Martin Denny's exotica, as well as to pop/erotic sci-fi soundtracks like Bob Crewe's Barbarella, with the added bonus of Yasmine Zekri's sexy scat singing. On the flip side you have "Intergalactc Porno Scene", a typical poliziottesco theme where clavinet and flute interweave into a super-funky groove, before synths come in and send us into erotically-charged space orbit.

Available as a 350-Copy Limited Edition 7-inch, and as a Digital Remaster.

“Week of Pines is a record about joyfulness, and coming home. And reclaiming things presumed gone. And grace, after making mistakes, that element of forgiveness and calm has been integral to this record.”
The album was recorded and produced by David Wrench over six days last August at Snowdonia’s Bryn Derwen studios. Her band features members of acclaimed country-folk outfit Cowbois Rhos Botwnnog and, for the album, includes a very special contribution from Lleuwen Steffan.
“The Welsh harpist Georgia Ruth is a rare talent, able to transcend borders of language, style and age with apparent ease ... A dazzling debut, rich with sweet pain and joy.” 

Andy Gill, The Independent ****
“Her own debut is a wonder, full of longing and melody.” Mojo ****

“while Sandy Denny, Bert Jansch and Van Morrison all linger on the horizon, Georgia Ruth comes over as more of a true original than most of the young hopefuls roaming these isles” Songlines ****
“Fans of Vashti Bunyan, the quieter moments of Talk Talk and gentle indie-pop will find succour here.” – Jude Rogers, tinyletter

RAWAX proudly welcomes Iron Curtis to the artist family!
We are very happy to present you one of our favourite producers on CHIWAX and couldn't be happier with the "Weather Report EP" which will only mark the beginning of a series from Iron Curtis on CHIWAX. We also hear rumors about him on HOUSEWAX ;)
Watch out for more!

Cosmic tech house wizard SNAD officially kicks off a brand new label from the stables of For Those That Knoe. Featuring eight tracks of chi-town swagger and a sprinkle of star dust, the Intergalactic Gambler rockets into a solar system near you wielding the likes of 'Juiced', with its spacious production and neatly sassy groove, the linear paths of 'The Big Sleep' and the oozing keys of 'Guiding Light'.

This album features Pharoah Sanders playing some no-nonsense tenor in a quartet with pianist John Hicks, bassist Walter Booker, and drummer Idris Muhammad. Sanders performs "It's Easy to Remember" (in a style very reminiscent of early-'60s John Coltrane), an original blues, and two of his compositions, including the passionate "You've Got to Have Freedom."

The musicianship is at a high level and, although Sanders does not shriek as much as one might hope (the Trane-ish influence was particularly strong during this relatively mellow period), he is in fine form. Review by Scott Yanow/AMG

Beware! This is hot stuff! Wear asbestos clothing while listening. Four world-class musicians at the very pinnacle of their art relating closely to one another in the vortex of a cyclone of jazz music. They're all burning, but listen particularly to John Hicks (R.I.P Mr. Hicks) on "DOKTOR PITT." Is he not the best thing to happen to the keyboard since McCoy Tyner? And when I state John Hicks was burning, if you've ever had the opportunity to view the video of this performance (maybe still on YouTube) recorded at the Great American Music Hall in 1981, you'll see
Mr. Hicks melting with perspiration. That's cookin' brother...
review by James S. Grogan

David Walters's new album Soul Tropical on French label Heavenly Sweetness is perfectly titled. It is a lush collection of soul so tropical you feel as if you're dancing deep in a steamy jungle as the music uplifts and truly nourishes. It draws on his family heritage in the West Indies and finds David once again singing about this famous string of sun-kissed islands across 13 joyful cuts. These are tracks with rich arrangements and plenty of world instruments making a fusion of disco, zouk, Caribbean, Afrobeat and funk that make a lasting impression. An essential album as summer approaches.

Repress!

Spanish DJ and producer Indira Paganotto has unveiled her new EP ‘Lions Of God’ out on vinyl early 2023.

A four-track release, ‘Lions Of God’ kicks off with ‘Legend’, a pulsating, high-energy club cut that taps into Indira’s trademark ‘psytechno’ sound. Setting the tone for the rest of the record, it is followed by the slamming techno meets spiritual vocals of ‘Diabla’, hypnotic, highly emotive vibes of ‘Angels Never Die’, and finally the title track ‘Lions Of God’, a pumping techno cut laced with poignant breakdowns. She returns to KNTXT following last year’s ‘Himalaya’ EP.

“Indira is baaaaack!” says KNTXT label head Charlotte de Witte. “I’ve been playing these tracks for a while now and they’ve been slaying every single dance floor. In my opinion, this is her best work so far and I’m very excited to have her on board for another psytrance influenced EP on KNTXT. She’s been killing it worldwide the past couple of months and it’s been an honor to follow her journey from up close. Big things are coming!”

“‘Lions Of God’ EP is the perfect summary of these twelve years of experimentation with my own psytechno sound,” Indira adds. “You will enter the depths of my mind with these tracks, and you will experience four different stories but with the same beginning and end, the search for truth, hope and love. Low riding as if a horse were taking you running without stopping, you feel melancholic and hopeful, hidden messages that if you know me you will know why they are there! I hope you have a good trip with this EP! Thanks to my sister Charlotte and the whole KNTXT family for your support and sharing my music and my being!

One of Spain’s hottest young dance talents, Indira Paganotto’s sets are full of elegance and effusive danceability, with a quality selection that spans 90s disco to the most current underground techno music.

‘Lions Of God’ sees Indira Paganotto illustrate why she is one of the hottest names on the scene right now.

This Autumn, Nicole Willis rolls out with her third album made together with The Soul Investigators "Happiness In Every Style". It is bound to send shivers through backs all around the world. As the name suggests, the new album will offer variety and tilt towards a more positive note after the murky "Tortured Soul" from two years back.

This means Nicole and the boys have made things a bit more soothing for the listener, offering upbeat modern soul and even embrace more sophisticated melodies alongside their highly evolved raw funk sound. To get a taste of this, one only has to put on "Let's Communicate" or "One In a Million" to have their hands clapping and toes tapping in no time, or respectively, witness the dance floor explode. From minor key ballads such as "Thief In The Night" to the unapologetically poppy "Angel", the new album is bound to bring to the hearts of humans in every shade and style.

Whether you know Nicole Willis from before or not does not hold any weight here. After hearing her with The Soul Investigators on this new album, you will know they are for real, and out to offer you everything you need to fill up your soul supply. With Nicole's insightful lyrics and the band's hard-hitting music you are in good care.

Anne's 7th Opus in 13 Years, Containing 6 Fantastic Covers and 6 of Her Own Songs, Recorded in One of the Most Prestigious Studios in Montreal with Her Original Blue Mind Team

Fresh from the success of her single "Killing Me Softly" from her previous album Keys to My Heart, Anne Bisson, singer-songwriter and jazz pianist, decided to perform and record more standards from the American jazz songbook, as well as new arrangements of classic songs that were so much a part of her teenage years.

Be My Lover, Anne's seventh album is, therefore, a savoury feast of original compositions and classic songs in her own bold new arrangements for acoustic trio. While still in the 'Smooth Jazz' genre, the presence of a Fender Rhodes, the legendary '70s keyboard, along with an electric bass, impart the album with quite a unique tone.

After over 18 months of musical experimentation and other creative endeavours, Anne once again brought together master drummer Paul Brochu (Gino Vanelli, Michel Legrand, UZEB) and proficient bassist Jean-Bertrand Carbou from France, for a series of informal sessions to explore the songs that were being considered for this seventh release.

These two musicians have been valuable collaborators for several years now. Paul has been featured on many of Anne's albums, notably Blue Mind, which made a huge splash when it appeared, with over 35,000 hard copies sold, while Jean-Bertrand's playing has also graced several of her albums.

Since 2009, the three have performed at several important venues, including Le Festival International de Jazz de Montréal, as well as other festivals in the United States and Mexico.

What holds them together is an evident complicity which is present from the very first notes. Their musical contributions are precise and deeply heart-felt. Their virtuoso playing greatly enhances these songs without turning them into mere technical exercises.

With precision playing, subtlety and attention to detail, as well as being recorded in impeccable High Definition, these songs will definitely please Anne's audiophile fans, while also appealing to a wider audience.



All About Ultimate High Quality CD (UHQCD)
Many years have passed since the birth of the Audio Compact Disc (CD) back in 1982. By use of High-Quality materials and a totally different manufacturing method, the definitive version of audiophile audio CD was born. Playable on any CD player, the Ultimate High Quality CD greatly surpasses all previous CDs before it!

The Ultimate High Quality CD (UHQCD):
UHQCD is a radical change to the CD manufacturing process itself. The conventional wisdom about CD manufacturing, which had remained largely unchanged across the world for over 30 years, has been exhaustively questioned. Through this effort, the ultimate in quality was attained - a level of quality that is certainly impossible to achieve with existing CD discs.

The Ultimate High Quality CD was developed through an effort to improve audio quality by simply upgrading the materials used in ordinary CDs to higher quality materials. For the substrate a high-transparency and high-fluidity polycarbonate (a type of plastic) of the type used for LCD panels was used, while for the reflective layer, low-cost, common aluminium was replaced with a unique and expensive alloy of high-reflectivity.

Differences in manufacturing methods:
Conventional CDs are produced using the technique of injection moulding to form "pits" of data on polycarbonate material. Metal plate on which "pits" representing audio source data are formed is used as a die. This is called the "stamper." Polycarbonate is melted at high temperature and poured into the die to duplicate the pit patterns on the stamper.

This method is efficient because it enables high-speed production, but it does not enable totally accurate or complete duplication of the pits on the stamper. As a melted plastic, polycarbonate is inevitably viscous, so it cannot penetrate completely into every land and groove of the tiny pits of the stamper.

The Ultimate High Quality CD photopolymer is used instead of polycarbonate to replicate the pits of the stamper. In their normal state, photopolymers are liquids, but one of their characteristic properties is that they harden when exposed to light of certain wavelengths. The advantage of this property, perfect replication of very finely detailed pits was achieved. Photopolymers in the liquid state are able to penetrate into the tiniest corners of pits on the stamper so that the pattern of the pits is reproduced to an extremely high level of accuracy. The Ultimate High Quality CD reproduces audio with greater precision and at a level that is impossible to achieve using conventional CD production technology!

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Tracklist:

Naomi Akimoto - Bewitched (Are You Leaving Soon), Atsuko Nina - Tonkachi, Miho Fujiwara - Heartbeat, Miharu Koshi - Scandal Night, Chu Kosaka - Shirakechimauze, Teresa Noda - Tropical Love, Makoto Matsushita - Business Man Pt. 1, Susan - Ah! Soka, Yukako Hayase - Suiyoubi Madeni Shinitaino, Parachute - Kowloon Daily, Hiroyuki Namba - Tropical Exposition (Who Done It? Version), Pizzicato Five - Boy Meets Girl, Mari Iijima - Love Sick, 1986 Omega Tribe - Cosmic Love, Osamu Shoji - Pub Casablanca, Chiemi Manabe - Untotooku

Russell Small and DNO P jump on remix duties delivering an upbeat house music interpretation that will put your feet firmly on the dance floor and a smile across your face.

Russell Small has had a string of chart topping tunes with Phatts and Small and the Freemasons so this remix has a pedigree that is second to none.

LazerGirl is a Brighton based European Electronic Dance Music singer and songwriter. She is bright and full of sass, just like her music. Her pulse racing dance music with a euro twist allows her to stand out from the crowd as her style is fresh and catchy and each song is packed full of energy.

Brighton producer and DJ Steve Mac delivers a full on acid house excursion with his stylish remix of LazerGirl's "Tocarme".

Steve Mac has a prestigious bio and discography that most producers can only dream about and this remix exudes all the class you would expect from an artist of this calibre.

With its feet planted firmly in 2020, the remix effortlessly transports you back to the second summer of love combining the old school with the new decade.

Pure Class!

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Midnight Sugar is one of the most sough-after titles from the acclaimed Three Blind Mice catalogue.

On “Midnight Sugar” the Tsuyoshi Yamamoto Trio plays two of Tsuyoshi’s own blues improvisations followed by jazz ballads that became standards for the Trio. The combination of these titles is nothing but exceptional.

The Yamamoto Trio’s Midnight Sugar was recorded March 1, 1974 at Aoi Studio, Tokyo. It earned the Best Engineering Award and Jazz Disc Award of Swing Journal in 1974. It is Yamamoto’s unmistakable skill and his jazz feeling which adds that certain touch of liveliness and spontaneity and makes Midnight Sugar a unique experience. This Piano Trio will mesmerize you with this great collection of standards, superb musicianship and awesome sonics. You are sure to listen to this one over and over.