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The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

A wild and funky collection of Afro grooves that was ahead of its time in 1977 and has become a collector’s item in recent years, especially due to the growing international interest in Colombian picó sound system culture. Fruko and his studio bands Wganda Kenya and Kammpala Grupo treat us to a diverse set of African and Caribbean styles, laced with crazy synths, psychedelic guitar and infectious pan-African polyrhythms. By the time Discos Fuentes released the album “Wganda Kenya Kammpala Grupo” in 1977, Wganda Kenya’s discography was expanding with many 45 singles and appearances in various artists collections. The group’s 1975 debut record “África 5.000” was a full length LP in the U.S. and a various artists compilation in Colombia, which was followed by the self-titled long player the following year. However, Kammpala Grupo, which shared the album’s title and was credited to three songs on the record, had never appeared before, yet was basically the same studio group as Wganda Kenya. Most likely the creation of this short-lived studio band was just a ploy by the label to make it seem like there were more groups playing the type of exotic afro tracks favored by the picotero DJs of Colombia’s Caribbean coast (especially in Barranquilla and Cartagena). 1974 Discos Fuentes’ management had sent musician, band leader and producer Julio Ernesto “Fruko” Estrada to the coast on an A&R mission to discover what people were dancing to in the verbenas (communal open air neighborhood parties) run by the owners of picó sound systems (decorated mobile DJ rigs). Always game for an adventure, Fruko was tasked with bringing some popular examples of these esoteric, hard-to-find African, French and Dutch Antillean records back to Medellín to serve as inspiration (or to outright copy) so that the label could enter into the growing regional market and spread its popularity to the interior of Colombia and other Latin American countries via its own studio creation, Wganda Kenya. Fuentes was always returning to exploit the rich African-rooted culture of the coast as it had with the cumbia and other regional genres before, so in a way it was not surprising that they were attuned to this particular niche phenomenon from a marginalized sector of the population. The most popular genres with the champeta dancers in the 70’s and 80’s were styles like Congolese rumba, highlife, afrobeat, juju, mbaqanga and soukous as well as the music of Haiti, Guadeloupe, Martinique, Curaçao and Dominica, all of which were fiercely guarded by the DJs who had managed to acquire them often through extreme means of travel, barter and intense digging. The record kicks off with the joyful ‘El Gallo Africano’ which features exquisite interplay between Sepúlveda’s highlife style guitar and an authentic-sounding African style saxophone, perhaps played by Carlos Piña. In reality it was ‘Go Call Police Chief’ by prolific Nigerian highlife guitarist Chief Oliver Sunday Akanite, aka Oliver De Coque. Next up is Kammpala Grupo’s ‘La Yuca Rayá’ (‘Grated Yuca’), written by Isaac Villanueva in a style he termed son haitiano which sounds much more like Zimbabwe Shona mbira music. Wganda Kenya’s ‘Caimito’ (star apple, a type of tropical fruit), on the other hand, is actually a cover of a relatively well-known Haitian merengue song. Kammpala Grupo then takes us from the French Antilles to the multi-cultural discotheques of Paris, where a cover version of Black Soul’s Afro-boogie anthem ‘Black Soul Music’ is retooled and renamed ‘King Kong’, perhaps in a nod to the 1976 remake of the monster flick of the same name. Side two introduces us to the infectious merengue rebita of Angola via ‘La riphyta’ with “Paparí”, aka Mariano Sepúlveda, doing the vocals and faithfully replicating the Angolan guitar style. ‘La Trompeta Loca’ (‘The Crazy Trumpet’), probably the nuttiest track on the album, is an ingenious cover of ‘Ye Gbawa Oo Baba (Tribute To Nigeria)’ by Joe Mensah of Ghana. As with all their covers of African tunes, this rendition tightens up the original with some pop sheen, more consistent drumming and higher production values, remaking it into a powerful slow-burning dance floor filler. This is followed by one of the most powerfully original songs to come out of the entire Wganda Kenya project, Mike Char’s reggae anthem ‘El Nativo’ with Joe Arroyo on vocals. The record ends on a more authentically Caribbean sounding note with the instrumental ‘El testamento’, a cheerful islands banger with bright brass, syncopated calypso beats and chunky cuatro guitar (or ukulele). The original was in the mento genre and titled ‘Sweet meat’, written and recorded by Jamaican trumpeter Bobby Ellis. First time reissue. 180g vinyl.

Batov Records “Middle Eastern Grooves’ 7” series have become staples in the sets of DJs looking to broaden their sets to incorporate psychedelic and Middle Eastern sounds alongside the familiar funk, jazz, and soul catalogue. In the process, the series has enjoyed support across BBC 6 Radio Music, from Gilles Peterson to Gideon Coe, and made waves around the world, from Radio Nova and FIP in France, across the Atlantic to KEXP and Music Is My Sanctuary,
and laid the seeds for debut albums from series staples, Sababa 5 and Şatellites.

The compilation opens with the desert funk sound of "Badawee" by the iconic producer and multi-instrumentalist, Kutiman, followed by the instrumental edit of "Ya Raiyat" by Tel Aviv digging pioneers Radio Trip. Other highlights include the deranged & spooky synths of “The Egyptian” by Baharat, a prime example of the label's core sound, the
psychedelic Middle Eastern groove bomb "Deli Deli" by Şatellites, and “Nasnusa”, Sababa 5’s acclaimed collaboration with Japanese vocalist Yurika Hanashima.

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released
under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and neverbefore-heard gems from some of the most talented emerging artists.

The compilation also includes some exclusive tracks, released here for the first time. Following their recent collaborative EP, Sababa 5 back the newly discovered vocalist Shiran Tzfira with a simple but
effective combo of synths and percussion on the haunting “Manginat Mahepeha”.

Şatellites band leader Itamar Kluger contributes “Saved From The Jazz” from his new psychedelic funk project Eje Eje - watch out for the drums on this!

And finally, underground belly dancing princess turned Mediterranean psych chanteuse, Cherry Bandora, contributes the hypnotic “Esý”.
This first volume of highlights from the Middle Eastern Grooves 7" series offers a comprehensive look at the evolution of the label's sound and its place in the wider musical context. From surf rock
to Mediterranean psych, this collection showcases the diverse and captivating sounds of the Middle East and its influence on modern music. The compilation will be available on double gatefold vinyl and for digital download and streaming from 19th May, 2023.

When he isn’t managing Batov Records, DJ Kobayashi can be found digging for grooves and melodies that stand out from the norm, and sharing them at the likes of Brilliant Corners, Spiritland, and his biweekly show on Soho Radio. His vast collection spans funk and beats from across the globe, and reflects, of course, a particular
predilection for Middle Eastern grooves. His refined tastes have created a great demand for his selections, leading to him playing alongside the likes of Islandman, Balkan Beat Box, The Apples, and Baba Zula.

Hi Scores is beyond excited to present SSR Records: In Retrospect. This 2LP compilation album presented in a beautiful gatefold sleeve and through all digital platforms, wishes to highlight the immense and hard to grasp legacy of the Brussels based label. SSR Records was founded in 1988 by Marc Hollander as a sub label of his Crammed Discs and spanned the nascent years of house, acid, rave, trance, new beat, hip-hop, future jazz and broken beat, collaborating internationally and racking up close to 200 releases until it was put to sleep in 2002. Far ahead of their time, SSR Records released music of both European and North American artists that hadn’t broken through yet, such as those collected on this compilation: Move D, Nu Era, Gemini, Bjørn Torske, Glenn Underground or Matthew Herbert.

SSR Records was run by Crammed Discs chief Marc Hollander and Minimal Compact singer Samy Birnbach aka DJ Morpheus. SSR Records: In Retrospect comes with extended liner notes, exploring the pivotal milestones in the history of the adventurous label and zooming in on the origins of all records featured on the compilation.

All nine tracks on SSR Records: In Retrospect were selected by Hi Scores’s head honcho Kong DJ and have been remastered. Created between 1990 and 1996 and in the at the time pioneering spheres of house, breakbeat, electro and trance music, these treasures from the vast SSR catalog today stand as a stunning testimony to a truly remarkable and timeless musical legacy. Kong DJ: ‘While collaborating with Crammed Discs on the releases of Aksak Maboul in 2016 and Zazou / Bikaye in 2018 on Ensemble, I began to grasp the impressive catalog of the label and its sub labels, including SSR. Surprised by the tiny footprint SSR had left on the world wide web - often the case for labels ceased before the internet revolution - I wrote an article for British website The Vinyl Factory.

This would later prove to be the first step towards this compilation album, collecting favorites from the label as a kid in a giant candy store.’

This second volume of Mangle Rojo is a tribute to the spirit of celebration and diversity that reigns in the festivities of Colombia´s town squares. We created this compilation in vinyl format, in which we continue to explore the traditional sounds of the Caribbean and Pacific coasts, which have a rooted Afro tradition.

We begin this journey with field recordings of traditional groups such as Sexteto Tabalá from Palenque de San Basilio, who plays the sextet format heir to the Cuban Son and Los Alegres del Telembí, exponents of the marimba music of the Colombian South Pacific.

We continue this voyage with proposals that fuse traditional rhythms with modern instruments and musical genres: The popular singer Nelda Piña makes a featuring with the afrobeat orchestra La BOA and the marimba band Saborimba, from a small town on the Pacific coast, collaborates with urban musicians.

In addition, we find new protagonists like the big band formats that have been popular in Colombia since the beginning of the 20th century: the Papayera band (Calentanos Brass Band) and the Chirimía format (Chirrimía Balsámica), this last one with the collaboration of the renowned singer Alexis Play.

Finally, we invite artists who use traditional rhythms to develop electronic proposals, such as Ghetto Kumbé and the well-known singer Nidia Góngora.

Repress.

The first in a series of compilations by Jura Soundsystem is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.
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The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic 'We Can Watch Alf In The Hotel Room', never before released on Vinyl, the Dub / Psych hybrid of Minus Group's 'Black Shadow', Kash's sought after 'Percussion Sundance' and special edits of Ken Dang and Tabou Combo.

The end of the album includes some soothing Ambient tools.

We continue to dig into the archives to unleash the Bonzai sound on to a new generation of fans and stir up cherished memories for those that know. Bonzai Compilation III – Rave Nation first saw the light of day in 1994 on CD and showcased the talents of a fine roster of in-house artists who were churning out hit after hit. Despite only being two years old at the time, Bonzai Records had already taken the electronic dance music world by storm with previous comps proving hugely popular across Europe and continues to do so with enthusiasm to this day. For the vinyl collectors, we’ve selected and remastered 9 tracks off the original release from Aqua Contact, Techno Junkies, 3XXX, Dialectrum, Jones & Stephenson, Airplay, Bountyhunter, Yves Deruyter and B.W.P. Experiments along with a first-time-on-vinyl appearance for Yves Deruyter’s remix of La Sirena by Aqua Contact. This limited 2x12” presented in a gatefold sleeve with original artwork is the perfect curation, providing you with a mighty arsenal of weapons to unleash on the dance floor.

We continue to dig into the archives to unleash the Bonzai sound on to a new generation of fans and stir up cherished memories for those that know. Bonzai Compilation III – Rave Nation first saw the light of day in 1994 on CD and showcased the talents of a fine roster of in-house artists who were churning out hit after hit. Despite only being two years old at the time, Bonzai Records had already taken the electronic dance music world by storm with previous comps proving hugely popular across Europe and continues to do so with enthusiasm to this day. For the vinyl collectors, we’ve selected and remastered 9 tracks off the original release from Aqua Contact, Techno Junkies, 3XXX, Dialectrum, Jones & Stephenson, Airplay, Bountyhunter, Yves Deruyter and B.W.P. Experiments along with a first-time-on-vinyl appearance for Yves Deruyter’s remix of La Sirena by Aqua Contact. This limited 2x12” presented in a gatefold sleeve with original artwork is the perfect curation, providing you with a mighty arsenal of weapons to unleash on the dance floor.

Vinyl Only

Back with our 5th vinyl installment and 4 amazing artists to introduce.

Herman Saiz, a Chilean producer with an extensive and successful career, delights us with his organic minimal sound and mellow grooves.

Next, we have Delphie, a talented Argentinian producer, bringing the heat with an acid house breakbeat.

On the B-side we have some familiar names, Noon Do, the traveling producer, taking us on a minimal house ride with a beautiful vocal.

And Baban, a young producer who still amazes us every time with his tracks. This time with a track drenched in some surround pads and layered with a groovy bassline.

SPHERART WAX presents its first release, a V.A. full of groove and a great selection of artists that will make the dancefloor explode with their incredible sounds with an artistic collaboration of the painter GAAP from Barcelona.

ITWVA002 it is the second various-artist vinyl record released on the newborn Italian Weapons Records.
The second release dives through different genres without forgetting the main core of the label which is Italian House Music.
This collection was entirely produced by young and talented Italian artists. Italian Weapons are always looking for sounds from the Italian house scene, allowing their artists to travel back to these golden age sounds.

ITWVA002 Includes 4 tracks carefully selected by the Italian Weapons label. Owned by Niccolo Turini and Gunther Mian. These tracks were mastered by Michele Mucci of Nachtkerzestudio Berlin. And designed by Matteo Mangano. The second various artist ranges through all the nuances of Italian house music including Balearic sounds produced by artists located throughout the country and beyond.

The second round of artists includes Derek & DJLo, Heat Alliance, Niccolo Turini aka; Funksonik, TMM aka; The Mechanical Man, and Sandro Sainati aka; Tai gong.

Repeat Offender Records was active between 2006 and 2010, recreating the '92 UK Breakbeat Rave Sound with tracks from label owners Wax & Inferno and a roster of like minded artists pushing the "Nu-Rave" sound at the time. These are label archive copies from the original press run from 2010 supplied in original printed sleeves in very limited quantities the last ever copies - its Old New Old Skool...

Various Artists - A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006) LP + 7' + 4 page booklet insert describing the legacy of the magazine, 500 only pressed. A vinyl only release. "A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006)" is a celebratory vinyl-only release drawn from the magazine's sixteen cover-mounted compilation CDs. Across some 300 tracks, the magazine presented previously unheard tracks from its eclectic array of interviewees drawn from the worlds of the Singer Songwriter, Americana, Post-Rock, Electronica, and all things Indie. Comes With A Smile's designer/editor Matt Dornan's association with Tongue Master Records began with the first TM 7" and has continued to the present day. In some ways the association has come full circle with this curated release. The selections on this album represent the place where the worlds of Tongue Master and CWAS converge. Most remain exclusive to the magazine, and all appear on vinyl for the first time. Side one features artists who appear in the Tongue Master discography - from established masters Mark Eitzel, Mark Mulcahy and Howe Gelb to the equally idiosyncratic stylings of New York's The Scene Is Now, Athens' Sigmatropic (featuring Edith Frost) and London's cinematic The Real Tuesday Weld. The latter revisits a CWAS favourite, featuring a newly recorded vocal by Sephine Llo, exclusive to this release. Other contributions include intimate demos from Eitzel and Gelb (better known in embellished form by American Music Club and Giant Sand respectively), to standalone gems like Mulcahy's "Elephantine" (which gives this collection its title) and the bruised avant-garde blues of The Scene Is Now's "The Word". The tracks on side two and the accompanying 7" are a diverse selection drawn from the 16 CDs CWAS issued between 2000 and 2006 that reflect and complement the oeuvre of Tongue Master Records. Here you will find the dense literature-infused art-folk of Lullaby For The Working Class, the sparse acoustic balladry of Nina Nastasia and the curious Matmos-enhanced stylings of veteran polymath and fellow New Yorker David Grubbs. In their wake comes an epic jazz-tinged duel between Douglas McCombs's Brokeback and sometime labelmates Chicago Underground Duo, and the raw gothic Americana of Blanche. The LP concludes with a haunting lo-fi lament by the sorely missed Jason Molina in his Songs: Ohia guise. The 7" presents two further gems: a concise edit of the lengthy title track from a 2005 12" tour EP from CWAS regulars The American Analog Set, and an acoustic rendition of a track from the album 'The Great Destroyer' by shapeshifting veterans Low from the same year. Together the 14 tracks hint at the breadth of the CWAS archive, a treasure trove from a not-too-distant musical past. With full lyrics, a special four page insert tracing the history of the magazine, and an Alex Wharton Abbey Road cut, this quality release is a testament to the legacy of CWAS. 'Probably the best independent music magazine in the world '- ESQUIRE // Tracks: SIDE ONE: 1 The Scene Is Now - 'Words' (3:10) 2 Howe Gelb - 'Wolf Pup' (4:42) 3 Mark Mulcahy - 'Elephantine' (4:12) 4 Sigmatropic featuring Edith Frost - 'Haiku 4 (Alt)' (2:31) 5 Mark Eitzel - 'Bought A Book' (3:36) 6 The Real Tuesday Weld featuring Sephine Lo - 'Dreaming of You' (3:47). SIDE TWO: 7 Lullaby For The Working Class - 'In Defense Of Abstractions' (3:18) 8 Nina Nastasia - 'I Will Never Marry' (3:29) 9 David Grubbs- 'Aging Young Lovers' (2:53) 10 Brokeback With Chicago Underground Duo- 'Chomsk, Live!' (7:08) 11 Blanche -'Never Again (Demo)' (3:26) 12 Songs: Ohia - 'Untitled' (3:01). 7" SIDE 3: The American Analog Set - 'Everything Ends In Spring (Edit)' (4:41). SIDE 4: Low - 'Walk Into The Sea (acoustic version)' (3:07) For indie stores only!

Inspired by the rawness and honesty of artists like Elliott Smith, Julien Baker, Adrianne Lenker & Sufjan Stevens, Callum Pitt imbues his indie-folk with grand, orchestral, chamber pop sensibility plus an alt-rock edge. Despite using music often as a canvas to openly discuss depression & anxiety, as well as political unrest, Callum still manages to imprint feelings of optimism and unity, alongside genuine warmth and honesty, throughout his songs.

This debut album In The Balance pinpoints back to one night in 2019, where Pitt was handed an earth-shaking reminder of how much hangs in the balance with each passing second. Minutes after he waved goodbye to his brother and parents as they left his house, a fire engine hit the back edge of their car. They were all unharmed. But if the car was in the engine’s path a fraction of a second later — if Pitt had said one more word at the doorstep — it would have ploughed directly into the drivers’ side.

28-year-old Pitt has been working on his craft for a decade, beginning in the Newcastle pub scene and gradually refining his thoughtful, poetic songwriting voice. He won the Alan Hull Award for songwriters in 2019, and the Fender Player Plus competition in 2021. Meanwhile, he’s studying a masters in Occupational Therapy, and has worked with children, young people and adults with disabilities through various outlets, including therapeutic music work. These are experiences that shaped In The Balance, his first true body of work, giving him a new perspective on the cathartic and unifying power of music.

repress !

After Space Ghost’s first album Endless Light took to international airwaves and echoed out of cities from London to Los Angeles, his forthcoming release Aquarium Nightclub brings back his signature lo-fi aesthetics with a fresh hit of inspiration from the natural world.

Melding irresistible vintage synths with a meditative groove, Aquarium Nightclub is a journey of sorts. Taking listeners on a tropical tour through 80s house drums, lush synth landscapes, and deep bass melodies, the thirteen-track LP is as adventurous as it is restrained.

Growing up in a small town a few hours from California’s East Bay area, Space Ghost (Sudi Wachspress) moved to Oakland ten years ago to study at the California College of the Arts. In a city known for its vibrant cultural fabric and its experimental music scene, Space Ghost represents a new generation of young artists. His DJ collective Late Feelings, launched in 2013, has allowed him to find his own groove amongst monthly all-vinyl dance parties, where he plucks influences from various corners of the world.

More complex than last year’s release, Aquarium Nightclub shows off Space Ghost’s artistic hunger and unique sonic signature.

Kicking off with “Sea Snake Island,” a track that is best described as late 80s house melancholia is a beautiful dance of shimmering keys, drum machines, and sounds of the jungle. The single “Sim City” ft. Morgan is a classic Chicago house beast; dark but uplifting with heavy bass undertones, fuzzy drum pulse, and plenty of mysterious synth melodies. Other tracks like “Ocean Odyssey,” “Night Dive” and “Aquarium Nightclub” plunge into an ambient world of slow 80s funk, though always rooted in the Bay Area sound.

A product of record-collecting and dance party hosting, Aquarium Nightclub is a glittering postcard from Atlantis. Profound yet undeniably groovy, its mesmerizing tropical undertones promise a safe journey back to the endless days of summer.

Repeat Offender Records - was active between 2006 and 2010, recreating the '92 UK Breakbeat Rave Sound with tracks from label owners Wax & Inferno and a roster of like minded artists pushing the "Nu-Rave" sound at the time. These are label archive copies from the original press run from 2009 supplied in original printed sleeves in very limited quantities its Old New Old Skool...

Repeat Offender Records - was active between 2006 and 2010, recreating the '92 UK Breakbeat Rave Sound with tracks from label owners Wax & Inferno and a roster of like minded artists pushing the "Nu-Rave" sound at the time. These are label archive copies from the original press run from 2009 supplied in original printed sleeves and available in very limited quantities its Old, New, Old Skool...

This is Come Play With Me Records' first release since the partnership with EMI North has been announced. The compilation 10” is funded by Breed Media and features local Leeds artists Hang Linton, Claudia Fenoglio, Fehlt and Tirikilatops, with the vinyl featuring exclusive spoken word pieces from Jack Collins and Lily Fontaine (English Teacher). Key Quotes: “With summer on the horizon, ‘As Good As This’ possesses a most welcome warmth, its gentle familiarity as intoxicating as it is reassuring.” - God Is In The TV

First released back in the fall of 1989, the In Order To Dance album was a compilation LP that pulled together tracks from a
select band of electronic producers, pushing the boundaries of the house and electronic music that was in its infancy stage.
Released on the R&S Records label, the IOTD series would become pivotal in the development of the electronic music scene
at large.
The world of music is a constant shape shifting, trend moving behemoth. Style may come and go (and come back around
again), stars are made, stars can fall. But the ethos behind In Order To Dance remains the same as it ever has, with a fierce
independent spirit, and a pledge to bring forward the next generation of young artists and their music. And so, here we arrive
at a new collection, fresh for 2023, and just in time for the labels 40th anniversary year, and with the ardent A&R’ing of label
founder Renaat Vandepapeliere, a selection of new tunes is assembled to reinforce the strength and power to be found within
music.
Across thirteen tracks, a squad of refreshingly contemporary producers from around the globe are brought together under the
In Order To Dance banner. Ushering the series into a new era, new variations on the electronic genre and fresh ideas are
fused into a delightfully engaging collection of tracks. There’s deep breakbeats courtesy of UK producer Dharma, smooth and
dubby live action from Saytek and complex bass heavy rhythms from Vromm. There’s esoteric electronics from Hyphen, epic
piano driven deep house from Dino Lenny and swinging jazzy breaks from Nphonix & Matrika. Paul Roux’s melancholic
‘Bapteme’ unfurls waves of deft pianos and guitar swirls over taunt beats, and a driving electro tone is set on Acidulant’s
contribution. Intoxicating rave tropes and hefty breaks come courtesy of Pascal Nuzzo and Adam Antine delivers a wall of
sound anchored by shuffling, funky beats on ‘Sortavala’.
And to accompany the new wave of In Order To Dance, a series of music videos have been produced. Acclaimed artists and
video directors, including Alessandro Amaducci, Ben Marlowe and Gala Mirissa, have all stamped their digital artistic
visions onto these stunning compositions, synching audio and visual for a multi-sensory experience!
‘In Order To Dance 4.0’ by Various Artists is available on R&S Records from 14th April 2023 on 3LP vinyl, download &
streaming services.

London based label Natural Selection present their 4th release in the form of a 4-track physical and digital Techno EP courtesy of Rommek, entitled "Devil's Playground EP". Cut by Simon at The Exchange Vinyl and mastered by Dadub Studios, Berlin.

Based in London, Rommek has seen his music released by the heaviest of renowned labels such as MORD, ARTS & James Ruskin's Blueprint Records. Rommek returns to Natural Selection after releasing with the label via their widely acclaimed VA compilation fundraiser "In Aid Of Ukraine" in 2022, with his track "All Blood Is Red", which has gained support by some of the most respected DJ's worldwide.

Since his debut release in 2014, Rommek has creatively expanded his own sound and has firmly established himself within the global techno and experimental scene. His extensive interest in sound design is crafted within the dense atmospheres, heavy broken drums and dynamic tones found within his productions. After various releases that grounded him within the Blueprint family, Rommek then completed his most established work to date, the 'Set In Stone Trilogy' in 2018. The three part release compromises of 12 tracks, original and remixes from key members of the Blueprint team; James Ruskin, O/V/R (James Ruskin & Regis), Broken English Club and Makaton.

After releasing over 15 solo EP's, Rommek has gained a wide range of noteworthy support, from being played on BBC Radio 1, to features and reviews in Mixmag, The Wire and The Quietus magazines. In 2018 he was featured within the top 100 globally charted artists on Resident Advisor. From this, it is clear that Rommek is driven to continue expanding his capabilities and keep excelling forward. After forming a close connection to Natural Selection in recent years, he has now cemented himself as one of the main front-line artists and residents within the London based imprint.

Natural Selection are well known for bridging the heavier spectrum of Techno, Electro, IDM, Acid, etc. with new, experimental style and form. One can always expect cutting-edge, hard-hitting, underground electronics from Natural Selection, with extreme diversity in sound.

Ghost Producer aka Badawi (aka Raz Mesinai aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist who has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a catalog of albums on labels as ROIR, Asphodel and Tzadik under various monikers dating back to the late 1980s.

Ghost Producer released his first albums starting in the late 80’s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC. He produced, on average, at least one album per week since 1988 until today. One of the twenty or so monikers was Badawi, later being signed to ROIR Records and releasing the seminal experimental dub, punk albums »Bedouin Sound Clash« and later »The Heretic of Ether« on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the 70s and 80s informed Ghost Producer’s singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer (Black Hawk Down) and rappers Danny Brown (Pneumonia) and Skepta and Double D (Don) among many others.

At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from »Studio We« and the Free Jazz Loft Movement in NYC in the 60s and 70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall (Cross Fader, The Echo of Decay) and Lincoln Center (String Quartet For Four Turntables). In addition, Ghost Producer has released several albums on John Zorn’s Tzadik label, where he explored producing to the books of Franz Kafka (Before The Law, Resurrections for Goat Skin, Cyborg Acoustics)

As a composer for film, he coined the term »score design» to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet (director Yaron Zilberman composer: Angelo Badalamenti), The Fountain, Black Swan and The Wrestler (Darren Aronofsky/Clint Mansel), Black Hawk Down (Ridley Scott/Hans Zimmer) and many more. In 2014, he was awarded as a fellow in the Sundance Composers Lab.

In 2015, Ghost Producer formed the Underground Producers Alliance, a unique program for developing producers, performers and composers, with co-founders Scotty Hard (Wu Tang Clan, Medeski Martin and Wood, De La Soul), HPrizm aka High Priest (Anti Pop Consortium), Honeychild Coleman (the 1865, The Slits) and Prince Paul (Jungle Brothers, De La Soul), where Ghost Producer produces entire albums with student participation in his master course.

This album, »The Book of Jinn«, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice) and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.

For the past 30-plus years, Paul Oakenfold has remained in the vanguard of the global electronic music community. With more than 110 million streams collectively, over 5 million albums sold worldwide, three GRAMMY nominations and more awards and accolades than you can count, Oakenfold is one of the industry’s most revered and most successful artists—ever. Hailed as the “Godfather of electronic music,” he’s been voted the world’s best DJ twice by DJ Mag, named the most influential DJ of all time by the London Evening Standard and recognized as the world’s most successful DJ by Guinness World Records. His hands-on involvement in the foundational establishment, international popularization and ongoing evolution of modern dance music spans nearly four decades.

Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and +20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2, and Madonna and also counts +100 remixes for +100 artists, including The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears, and Elvis Presley.

This release is a reissue of his classic - Southern Sun from 2002. Originally released as a double A side with "Ready Steady Go", it peaked at no 16 in the UK chart. It was taken from 1M worldwide selling album Bunkka which was released the following month. Featuring vocals by Carla Werner, the original version and various remixes have been included on over 70 compilation albums.

Now remastered for 2023 – this remix package features the full 9.44 trance journey by Tiësto & the equally dazzling Gabriel & Dresden Remix, which can be seen selling on Discogs for up to £225.
It will be followed by the album Bunkka remastered double LP later this year, it will be the 1st time the album has been made available on vinyl. Paul’s biography ‘Ready Steady Go!’ will also be out this year.

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

Through the 24 pieces, rare and unpublished, carefully selected for this double LP, BEATITUDE agnès b. MUSIQUE and Kwaidan Records offer a retro-futuristic sound journey through this musical period so rich, so diverse and so innovative. And, in order to properly celebrate the launch of this long-awaited volume 3, the 1st DES YOUNG GENS MÖDERNES festival will be organized in November 2020 at La Station - Gare des mines, with an intergenerational line up highlighting the musical lineage and the influence that this cold wave scene continues to exert on many emerging artists.

Cosmic Elements' first ever vinyl release is a 10 track album of chillhop, LoFi, old school and funky hip hop beats from Thylacinus & Da Funksta entitled 'A New Beginning'.

For fans of chilled downtempo beats in the style of Pete Rock, MF Doom’s Special Herbs series, Mushroom Jazz and LTJ Bukem’s Cookin Records imprint ‘A New Beginning’ was greatly influenced by these legendary artists and imprints, with none other than Mark Farina, the main man behind Mushroom Jazz, providing the artwork for the record sleeve and centre labels.

From the lush sunshine vibes of 'A New Beginning' with it's dreamy strings and infectious guitar lick, to the thought provoking keys of 'The Times We Had' through to the funky RnB influenced bass heavy 'Ready For The New Day', the album is a journey through all things chill.

Both prolific producers and label owners in their own right under various aliases, expect to see much more from Thylacinus & Da Funksta both individually and as a duo.

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

Limited Edition RED Vinyl – 100 units Hand numbered

Omid's parents were Iranian but he spent his childhood in Putney, London. He grew up listening to rock music, and listed Jimi Hendrix, Neil Young and the Cure among his favourite artists – after Robert Smith became a fan Omid would later remix various Cure songs. He learnt to play guitar and formed a rock band, but after hearing hardcore records played on pirate music stations he began making his own tracks on basic equipment that he had bought. Beginning in 1995, his early house and techno singles were released on his own Alola and Disclosure labels under the names of 16B and Phaser, but they soon attracted the attention of big-name DJs such as Derrick Carter, François Kevorkian and Sasha, and he signed to Sven Väth's Eye Q label to release his debut album Sounds from Another Room in March 1998, which was described by the Independent on Sunday as "avant-garde" and by Muzik as "quite breathtaking".
Although he started out as a producer, Omid gradually moved into DJing, at the request of friends who asked him to play records at parties. He secured a regular spot playing the Elements club night run by Hooj Choons record label boss Red Jerry. In October 2001 Omid released The Witch/Which Equation under the alias of the Sixteen Million Dollar Man.Inspired by Prince initially releasing his Planet Earth album as a covermount with a British newspaper, Omid released his third studio album Like 3 Ears and 1 Eye (Part 1) in a similar manner as a covermount with the November 2007 issue of DJ Mag.
Omid also formed the SOS collective of DJs, consisting of him, Desyn Masiello and Demi. The trio secured a residency at London's Ministry of Sound nightclub, and were asked to produce the club's first mix CD in 2010

In 2015, when we launched Hip Dozer, we were overwhelmed by the amount of talent that was still championing this old school way of making beats and the incredible creativity that was circulating in the scene.

In a period where hip hop was evolving so much and going further (sometimes for the better but also for the worse), it was obvious to us that we had to defend this rising scene of young beatmakers who were so attached to the roots of old-school beatmaking but who were always taking it to another level.

It's been 7 years since we created Hip Dozer Records with our first anniversary compilation and that's what makes this compilation so special every time. Its purpose remains the same and will always be to champion the art of beatmaking that we love and to help showcase new artists in the scene.

This year we are lucky enough to have some of our favourite talents from the scene on board with artists like Saib, Flughand, Phoniks, Cookin Soul, SoulChef and Wun Two.

We would like to say a huge thank you to all the artists who have been involved in this project and who have been as enthusiastic as we are in making it happen. It has been such a pleasure since the beginning of this adventure and this is only the beginning. Much love to all of you who listen and support wherever you are.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

The compilation "Get Together" enters a new round and gathers four artists to take a journey into electronic music together again. Maxie König opens the gathering with warm basses and sparkling
chords in her track "TenTen".

The unmistakable groove immediately carries us away and drives us straight onto the dance floor, where the no less deep track "Dezest" by Dip resounds through the speakers. Here we float on the smooth strings of the recurring sound waves, which one can hardly resist. Ana Antonova takes up this beautiful flow in her fascinating track "Naked Neighbour" and adds jazzy melodic elements that are interwoven with original sounds to create a fabulous, versatile sound story.

Finally, Cie picks up the bass and groove again and reflects the wonderful atmosphere of this gathering with the harmonic strings in "Haus Im Turm", making you want to put this record on „again“ and „again“.

Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

Nowadays Records has never lost its taste for compilations. And after having released dozens of them to date, the label is planning to release new ones for the occasion, directly from the Club Nowadays' aerial nights, where artists from different scenes, lesser-known heads and label figures are mixed together, always with this key word: openness.

More than just a name for a party or a compilation, Club Nowadays is also becoming a real artists' collective.

On the 1st compilation "Club Nowadays, Vol. 1" released in June 2022, we found house and techno sounds in the Nowadays style by the artists Chien Méchant, Grand Soleil, La Fine Equipe, Fulgeance, Trifouille1er, Ténéré and Vect (who also signed the whole visual DA of the project).

Nowadays is back with "Club Nowadays, Vol. 2", with other artists such as Phantom Traffic, Le Bag, Jeff The Fool,... In a word, Nowadays gives us its definition of club music. It may not be universal, but it is unique and inseparable from the label's image.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.

• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.

• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.

• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.

Woke rhythms and high-spirited grooves from the vaults of two seminal Italian jazz labels, between the 70s and 80s. Intensely curated by Khalab.

Hyperituals is a philological investigation that deeply delves into the possibilities of sound, rhythm, remix, and endless sampling. Inspiring listening, interpretation, and reinterpretation.
This volume is dedicated to the catalogue of the Italian Black Saint. Thanks to a constant, cutting-edge, and meticulous commitment, Black Saint & Soul Note established themself as two of the most important imprints for international jazz. They always placed the artists, their visions, and their music at the centre, giving them total freedom of creative expression. By combining jazz tradition with the political vanguard sentiment of the time, the two labels were able to press and produce more than five hundred records, many of which are by some of the brightest names in creative jazz or the ‘avant-garde’ of the era.
Curated by Khalab, the selection - focused on rhythms, grooves, and Afrocentric traditions - blends moments in which the rhythmic aspect is powerfully explicit, with others in which the kinetic aspect dialogues on different levels with African American cultural contexts.

2023 Repress

Avoidant Records present a special 12" vinyl sampler taken from the Various Artists compilation, "Defend Your Planet"