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One thing that's become apparent, is the vast trove of super-rare independent U.S. Soul releases that crept out in the ‘60s and ‘70s, usually with only local distribution. Many of these records never made it out of the city they were made in and would have been doomed to obscurity if not for the international network of Soul collectors.

Guitar Ray's incredible "You're Gonna Wreck My Life" on New Orleans’ music veteran Senator Jones' label, Shagg, is a case in point. This New Orleans gem from 1974 has recently soared in popularity with much in-demand original copies going for between £1000-£1500 apiece. We're delighted to be able to make this available again with a straight reissue on the original label. Yet another example of the buried treasures that surround us.

Robert Jon & The Wreck are back and ready to tear up the UK and Europe
all over again with their new record, Shine A Light On Me Brother.
The impressive new album, written and recorded during the COVID pandemic,
and self-produced by Robert Jon & The Wreck, is set to release 3 September,
2021. Robert Jon & The Wreck is comprised of Robert Jon Burrison (lead vocals
and guitar), Andrew Espantman (drums and background vocals), Steve Maggiora (keyboards and background vocals), Henry James (lead guitar and background vocals), and Warren Murrel(bass and background vocals). They will take
the new album on tour in September/October 2021 AND February/April/May/
June/July 2022.
Robert Jon & The Wreck has been writing songs and releasing albums since the
band’s conception in 2011. During this time, this quintet of follicular proficient
gentlemen has been busy fine-tuning their sound playing to packed houses
across Europe and the United States.
The band has been received with accolades and raving reviews for years now,
from nominations of “Best Rock” and “Best Blues” and winning the title of
“Best Live Band” at the Orange County Music Awards in 2013, to numerous top
10 chart placement on Southern Rock Brazil’s Top 20 Albums to being praised
as “Classic and fresh at the same time” by Rock The Best Music, “Raising the
bar for the Southern genre” by Blues Rock Review, and “keeping the history
of classic 60’s and 70’s rock alive for newer generations” by Blues legend Joe
Bonamassa.
“A classy re-bore of well-trodden southern rock tropes by an Orange County
quintet with impeccably realised contemporary commerciality. Born of Allmans
and Skynyrd, but box fresh for 2000.” - Classic Rock Magazine
“Full of Eagles like guitar riffs and on infectious groove.” - Blues in Britain

“All heads realize, recognize. Real heads on the rise, recognize. You better recognize”. Another milestone of Hip Hop's Golden Era gets an official 45 rpm on 7" vinyl release to celebrate the 25th anniversary of Smif-N-Wessun's debut album "Dah' Shinin”.

Representing Brownsville & Bed Stuy Brooklyn, rap duo Smif-N-Wessun, Tek and Steele, first appeared on Black Moon’s debut album Enta Da Stage in 1993. Adding relentless rhymes to tracks "U da Man" and "Black Smif N' Wessun," the pair paved the way for the Brooklyn Supergroup Boot Camp Clik.

25 years later, the raw and gritty sound of Da Beatminerz productions cut through the noise that is often found in the present day music industry, and was selected as one of The Source's 100 Best Rap Albums of all time.

“All heads realize, recognize. Real heads on the rise, recognize. You better recognize”.

Another milestone of Hip Hop's Golden Era gets an official 45 rpm on 7" vinyl release to celebrate the 25th anniversary of Smif-N-Wessun's debut album "Dah' Shinin” .

Representing Brownsville & Bed Stuy Brooklyn, rap duo Smif-N-Wessun, Tek and Steele, first appeared on Black Moon’s debut album Enta Da Stage in 1993. Adding relentless rhymes to tracks "U da Man" and "Black Smif N' Wessun," the pair paved the way for the Brooklyn Supergroup Boot Camp Clik.

25 years later, the raw and gritty sound of Da Beatminerz productions cut through the noise that is often found in the present day music industry, and was selected as one of The Source's 100 Best Rap Albums of all time.

Another Nervous rap nugget from da vaults!

Black Moon's 'Buck em down' is an anthem! One of the few instances in hip-hop where the remix is almost as infamous as the OG version.
Well, this is the OG version, finally on 7" - dirty version b/w Da Beatminerz instrumental. Filthy. Banging. Essential. Listening back to these jams is taking us back to the days of obsessively watching Yo! MTV Raps, BET, The Box and whatever else we could find on cable, pure memories, all caught up in that slamming Donald B loop, and those drums?! You can literally HEAR the grit flaking off of Evil Dee & Mr Walt's SP. Incredible. Word life.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

More golden era heat from the nervous vaults! It keeps coming!
1994 is the year and Black Moon and the whole Boot Camp Clik are on a major roll.
'Buck Em Down' is as potent today as it was back then with Da Beatminerz bros flipping Donald with a little 'Hihache' in the mix.
Oh? You love that gritty SP1200, filtered out, buddah smoke filled basement sound? Well, this is for you. All-time classic stuff right here, easily.
Here on dinked 45 for the first time ever you get the dirty instrumental versions of this sublime mid-90's banger.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

More golden era heat from the nervous vaults! It keeps coming!
Another stripped back, rough & raw banger from the vintage mid-90's output of Brooklyn's Black Moon crew, a legendary group.
'Powaful Impak' . still sounds super heavy today, a swirling mixture of dancehall vox, Busta samples and ultra raw and banging SP1200 loops courtesy of the mighty Evil Dee & Mr. Walt aka Da Beatminerz. Nobody comes close to the ferocity of this, super hard, street level hip-hop that encapsulates NYC beautifully, ultra gritty! Throw on your timbs, Carhartt jeans and jump the turnstyle to this right here. Essential vintage rap, instrumental included. Cop that.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

Industrial and Techno by Raum (half ov Orphan Swords). Limited vinyl 100 copies only.

The next batch of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's. Collectors and DJ's take note!

Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is!

The original LP version of the slamming underground jam 'I Gotcha Open' from 1994 sees Black Moon doing what they do best - spitting some serious heat over more Beatminerz grooves. It's all here, the filtered bassline that is a straight Beatminerz trademark, paired with some killer echo-laden drum programming and those sick horns! The perfect vehicle for the Buckshot Shorty to get loose with his inimitable style. This is that classic mid 90's flavour, classic from end to end. If that wasn't enough for you, you get blessed with Evil Dee & Mr Walt's instrumental on the flipside which will definitely get you open, fronting is optional but not advised! You have been warned.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2018.

The second in a series of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's.
Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is! 'How Many Emcee's Must Get Dissed' is that raw, NYC, Beatminerz flavour, even the video that dropped on MTV in 1993 is legendary featuring the whole Black Moon mob in their native Brooklyn posting up with their crew. Everyone remembers that Timberlands & Philly Blunts rap from the mid 90's onwards, raw SP1200 beats, dusty loops and samples pulled out of crates in the darkest corners of the five boroughs, a truly creative period in rap music and popular culture with many artists who came up in the era shaping the future of music from the streets upwards. Black Moon are one such group, their indelible mark on music is still felt today, the blend of streetwise raps and sturdy, murked out, jazzy beats supplied by the Dewgarde brothers is timeless. They sure don't make em like this anymore and if they did we're sure Black Moon would continually crush the competitors as they always did. Essential New York rap classics right here! Don't front. Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2018.

The first in a series of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's.
Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is! Black Moon's 'Who Got The Props' needs no introduction, it's place in hip-hop history is fully solidified. The combination of vintage Beatminerz SP1200 beats paired with the legendary MC's Buckshot and the 5 Ft. Accelerator's streetwise NYC raps is a heady mixture indeed. Often speaking of street life in New York in the 1990's, Black Moon gained cult status via their 1993 debut LP 'Enta Da Stage', one of the most celebrated hip-hop debut albums of all time. The Beatminerz production changed the game, their deep knowledge and understanding of samples, records and digging in the crates gave their sound a real style and edge. 'Who Got Da Props' is the perfect example of this, one of those timeless rap records that appeals to the hardcore and can ignite the party. Truly essential. Every home should have one (or 2!).
Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2018.

Soundgarden feiern das 20-jährige Jubiläum ihres bahnbrechenden Albums Superunknown mit einer neuen LP-Ausgabe des Meilensteins, bestehend aus zwei 180-Gramm-Vinylen im aufklappbaren Cover, auf denen sich die 16 Tracks der ursprünglichen Doppel-LP befinden.

Superunknown gilt als Soundgardens Meisterwerk. Mit ihm definierte die Grunge-Band aus Seattle 1994 den Alternative-Rock neu und stellten Weichen in der Musikgeschichte.

Die Albumtracks 'Black Hole Sun' and 'Spoonman' gewannen 1995 zwei Grammy-Awards. Superunknown war ebenfalls in der Kategorie Best Rock Album nominiert. Es wurde in den USA mit fünffachem Platin-Status ausgezeichnet, hat weltweit um die neun Millionen Exemplare verkauft, und ist damit Soundgardens kommerziell erfolgreichstes Album. 2003 reihte das Rolling-Stone-Magazin es in seine Liste der 500 Greatest Albums of All Time ein und platzierte es unter den 100 Greatest Albums of the Nineties.

Hier kommt eines der wichtigsten Rock-Alben der 1990er im Original-Doppel-LP-Format zurück, auf 180-Gramm-Vinylen im aufklappbaren Cover.

To celebrate New Flesh Records 20th release to date, French veteran DJ Umwelt (Shipwrec, Falling Ethics, Rave Or Die) returns to his own label with a mind blowing LP!

Built like the soundtrack of a dystopian movie where main characters evolve in a hopeless future, Sci-Fi Abandon In Place delivers no less than height cinematic masterpieces half-way between electro and ambient registers.

From the menacing sirens of opener Void Of Nothingness to the melancholic synths of closing Galactic Wreck, passing through the Blade Runnerish vision of Celestial Matter, this soulful album depicts nothing but the extinction of mankind in a ending world.

Besides its terrific message, Abandon In Place showcases the unlimited talent and incredible versatility of Umwelt, a mighty producer able to split from the most cutting edge music on New Flesh Records to a more radical, straight to the dancefloor approach on Rave Or Die.

A gloomy journey through apocalyptic tones, slow yet deep basslines, industrial touches, cold and un- compromising emotions! Umwelts most forward thinking opus to date sum up in once sentence: By the end of the day, all is dust.

All tracks written & produced by Umwelt

A year after his last 12 inch release Here We Are / That's Desire EP and few months after a CD release Hamburg Süd/Nee IYaow eow eow featuring experimental field recordings and vocal improvisations, Wolfgang Tillmans returns with a new extended play on his own label Fragile. Heute Will Ich Frei Sein sets an energetic tone for the 5 track EP that leads straight on the dancefloor, a space that Tillmans has observed and discussed from various angles throughout his artistic career. While Los Angeles based experimental noise project Wreck and Reference's beats and 808 staccato claps instantly create a hedonistic dance moment, it is Tillmans' lyrics that contrast the simplicity of this message. Tillmans knows that clubs have always been spaces mirroring constant crisis of 'western' societies towards minorities, race and gender. In the light of current political events, it is the singers' nod that informs us about the precarity and necessity of such spaces as no contradiction. Completely Changed and On My Own, Tillmans and his long-term collaborators Jay Pluck, Kyle Combs and Tim Knapp return to more song based recordings but with a stronger approach on synthesiser soundscapes. On My Own finds Tillmans again singing simple lines over a staggering pop production that can be read as a comment on nightlife as well as the artist emerging into a more mature stage in life. It is this ambiguity that marks Tillmans' writing and constant striving for variation. Almost last, the extended play features a remix of Fast Lane, originally released on 2016 / 1986 EP - tracing back to Tillmans' first musical steps with collaborator Bernd Lessmann in 1986.

Deep Purple are Proud to announce the reissue of their 1970 classic album 'Deep Purple in Rock', which sees all tracks fully remastered by Andy Pearce and Matt Wortham and released on a 1LP vinyl. The Album is the first in which every song is credited to the five Deep Purple band members, whilst it is still to this day credited as the prime essence of deep rock music. The title includes singles such as 'Child in Time' and notably the full length version of 'Speed King'. This album has been cut at half speed by Barry Grint at Alchemy, please be aware this is a key point over the other available editions

Leroy Smart the self proclaimed 'Don' carries much respect in the Jamaican musical community, he came through the Alpha boys school in Kingston that provided us with the cream of Jamaican artistic talent.
Such legends as Don Drummond,Tommy Mc Cook and Johnny Dizzy Moore to name but a few.
Leroy Smarts talent lay in his vocal attacking style that gives his lyrics and tune that extra meaning.
His best work came in the heady mid 70's working with 'The Hitmaker from Jamaica' Mr.Bunny Striker Lee.
Bunny put Leroy Smart on some of his best rhythms starting in 1973 with 'God Helps the Man' and 'Wreck up my Life'.
Other killer hits were to follow such as 'Mr.Smart','Pride and Ambition','Bad Minded People' and the attacking 'Mr.Richman'.
All tracks telling it like it is.............
We have compiled all these cuts together,every song a story in itself,told only as Leroy Smart could.

Das Album von 1984 ist wieder erhätlich! Mit dem schwergewichtigen Rhythm & Sound der Roots Radics im Channel One Studio und dem Mix von Sylvan Morris im Harry J Studio gilt dieser Longplayer als einer seiner besten. Yellowman schaffte es spätestens hiermit große Anerkennung in der US-Hip Hop/Rap-Szene zu erhalten, verbunden mit dem seinerzeit einhergehenden weltweiten Crossover - u.a. machte Eazy E (N.W.A.) den Titelsong "Nobody Move Nobody Get Hurt" zum geflügelten Wort, die Poor Righteous Teachers sampelten die Nummer für Profile Records. Bei diesem Album kommen u.a. folgende Riddims zum Einsatz: I Can't Hide, Answer, Wreck A Buddy, Hill And Gully, Youth In The Ghetto.

Vinyl in kraft sleeve

Across four tracks of lean and potent workouts with his unmistakable sonic signature, Peverelist returns to Livity Sound with his first release of 2026. After three years shaping out the Pulse series, Pace The Wrecks EP finds Pev shifting focus in subtle ways while upholding his focus on impactful, sprightly club modernism.

It's clear there are fresh inputs into the Peverelist sound from the very first note of 'Wreck I', which opens on an ominous lower-register piano note leading into a brooding house-tempo cut laced with sci-fi synth licks. On 'Wreck II' the dial shifts towards a more rapid-fire, electro-informed rush before swerving towards the bass-heavy, bleep-loaded jack of 'Wreck III'. 'Wreck IV' closes the EP out on a more sparsely arranged broken beat tip primed for lighter moments in the mix.

True to Pev's singular sound while maintaining the consistently fresh, uplifting energy of his recent output, Pace The Wrecks opens up the next phase in his studio work with assured poise and a sustained commitment to keep pushing forwards.

Deluxe LP edition, remastered using transfers from the original
tapes lifted from the Phillips vault by mastering legend Kevin Gray.
 Pressed at Pallas on 180g heavyweight vinyl and housed in a thick
reverse-board sleeve with additional insert featuring photographs
and words by bassist on the session Bill Crow.
 This session, recorded at New York’s Nola Penthouse Studios in
1963, is a little-known masterwork from the incredible Gerry
Mulligan catalogue.
 Baritone saxophonist Gerry Mulligan was a true icon of jazz, being
one of the prominent figures in the West Coast scene through the
1950s until his death in 1996. Voted Number One musician in his
instrument by Downbeat Magazine for 42 years in a row, Mulligan
was one of the key players of his time and a figurehead who
helped shape the sound of jazz to come.
 From periods in the ‘Birth Of The Cool’-era Miles Davis line up, as
well as forming a piano-less quartet with Chet Baker, Gerry was
always on the frontline of what was hip and happening in
America’s one true art form.
 With its striking Oliver Hardimon designed cover, ‘Night Lights’ is
the very definition of refined cool jazz. Shimmering with a latenight beauty that perfectly evokes a sophisticated New York City in
the early 1960s, Gerry and his Sextet fuse slow burning jazz noir
alongside emerging contemporary Brazilian rhythms, with the
interplay between Mulligan and guitarist Jim Hall a particular
standout throughout.
 Title track ‘Night Lights’ is a wonderfully smooth, low light tune,
while the Latin-tinged ‘Morning Of The Carnival’ really finds the
band in their finest and most swinging form. A cover of jazz
standard ‘In The Wee Small Hours Of The Morning’, followed by
Chopin’s ‘Prelude In E Minor’ continues the delightful groove
before we finish out with Mulligan originals ‘Festival Minor’ and
‘Tell Me When’.
 For this version of the release, New Land have also included the
1965 version of ‘Night Lights’, which gives an interesting
comparison, performed by his later day Quintet featuring the
Wrecking Crew’s legendary Hal Blaine on drums, amongst others.

Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:

"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).

‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.

‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.

‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"

DC Salas doesn’t do things by halves. Fresh off a June release on Enrica Falqui’s Plexus4, the Brussels-based producer wastes no time returning to his own Higher Hopes imprint and he’s brought a party with him.

Fiesta EP is a four-tracker with a split personality and zero apologies for it. The A-side is all business: Darkest Dream, already doing damage in Roza Terenzi’s sets and Consciousness lock in deep, hypnotic, and faster paced. Then the B-side happens. Fiesta Fiesta and Lost In My Memories raid the wreckage of new beat, proto-whatever and early 2000s electrohouse like they own the place. Fiesta Fiesta also marks fifteen years of DC Salas making music, celebrated, naturally, by vocodering his own voice and singing in Spanish.

HIGH005 follows Pixelated Dream Theory, which pulled support from DJ Masda, Ivan Smagghe, Evan Baggs, Enrica Falqui, Binh and many more. Back on home turf, no features, no compromises. Just DC Salas, in full.

Klasse Wrecks speedy sub-label Cabbage Trax returns with its second installment featuring Electro and Breaks flavours from Luca Lozano and DMX Krew. If its slow we don't wanna know!

Not many weeks go by without Patrick Sullivan aka P-Sol aka the New York City-based edit king dropping another tidy 7". He collides more classics from the r&b and hip-hop golden eras here, starting with 'Heard It All Before', which keeps the original, soulful and empowering vocal and reworks it into a slow, dubby, gentle broken bump. On the flip, 'Undone Wreck' is a classic early rap joint here reworked as a funky, jazzy fusion sound with smooth rolling bass and lush brass. The bars are storytelling and the effect is utterly seductive.

GER Erstes Album mit Hopeless der Atlanta Nu-Deathcore-Band LEFT TO SUFFER! Left To Suffer zählen zu den intensivsten und eindringlichsten Acts der modernen Heavy-Musik, eine Band, die mit der Wucht einer Abrissbirne und der Präzision eines Skalpells zuschlägt. Ihr Sound entsteht an der Schnittstelle zwischen Moshpit-tauglicher Brutalität und eindringlicher Melodik; er richtet sich an Hörer, die ihre Katharsis laut, körperlich spürbar und kompromisslos erleben wollen. Von zermalmenden Breakdowns bis hin zu unheimlicher, atmosphärischer Spannung haben sich Left To Suffer eine ganz eigene Nische geschaffen. Hier existieren Wut und Verletzlichkeit unmittelbar nebeneinander, getragen von messerscharfem Songwriting, gewaltigem Tiefenfundament und Hooks, die wie Nachbeben einschlagen. Left To Suffer jagen keinen Trends hinterher. Sie erschaffen etwas, das schwerer, schärfer und unüberhörbarer ist, und dieses Kapitel hat gerade erst begonnen. Oranges Vinyl, Digisleeve CD Hopeless debut from rising Atlanta Nu-Deathcore band LEFT TO SUFFER! Left To Suffer are one of modern heavy music's most visceral acts, a band that hits with the force of a wrecking ball and the precision of a scalpel. Their sound lives at the collision point of pit-starting brutality and haunting melody, built for listeners who want their catharsis loud, physical, and uncompromising. From pulverizing breakdowns to eerie atmospheric tension, Left To Suffer have carved out a lane entirely their own. One where rage and vulnerability coexist in the same breath, anchored by sharp songwriting, massive low-end weight, and hooks that land like aftershocks. Left To Suffer aren't chasing trends. They're building something heavier, sharper, and harder to ignore, and this chapter is just getting started. Orange coloured vinyl, digisleeved CD.

"Born from frontman Alex Biro's journey through addiction, loss, and recovery, Receptivity is the most honest record Selfish Things has ever made. After years of touring with the likes of Jimmy Eat World, Simple Plan, and Don Broco, a 2020 hiatus gave way to a personal unravelling - and eventually, to the songs that would become this album. Written alongside longtime collaborator Michael Ticar and producer Mike Tompa (Silverstein, The Devil Wears Prada) in the early months of Biro's sobriety, Receptivity is a record about facing the wreckage without flinching. It's about accountability, community, and the quiet work of putting yourself back together."

For more than two decades, AJJ has been writing albums that attempt to make sense of an increasingly confusing world. And the Arizona band has repeatedly succeeded, somehow managing to find the small traces of hope and beauty buried in the wreckage of a decaying planet. But on their ninth album, Dirty Old Power, they are coming to terms with the fact that they may no longer have the words to express it all. In fact, the proper words of communication may not even exist anymore.

Dirty Old Power takes stock of this surreal moment in American history where the post-World War II power structures of capitalism have given rise to full-on techno-fascism, and where humanity is being displaced by data centers, VR headsets, doomscrolling, and artificial versions of our loved ones.

To capture the disparate array of unique styles that make up Dirty Old Power, AJJ returned to Animal Rites studio in Los Angeles to record with their pal, Grammy-winning producer John Congleton, who also produced 2014’s Christmas Island and 2016’s The Bible 2. And for the cover artwork, the band turned to Winston Smith, the legendary visual artist known most famously for his iconic designs and logo for Dead Kennedys.

Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

OBI steps out of rhythm with the first OBI Threadz, a 10" split EP from DC Salas and Mr. Ho.
DC Salas opens with "No Turning Back," an artist at peak production level and a natural fit for his current bespoke live set. On the flip, Klasse Wrecks head Mr. Ho digs deeper into his electro side with "Leaky Faucet," a slowvolving, burning, haunting cut that slowly releases its climax to the perspective of the listener. Take

note: only 200 copies pressed. Don't sleep on it.