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Cover of First Meeting by Ronin Arkestra.

Ronin Arkestra

First Meeting

Albert's Favourites

Formed in Tokyo in 2017, Ronin Arkestra brings together some of the finest and most creative players in Japan’s Jazz and and electronic scene. The collective includes members of Kyoto Jazz Sextet, WONK, Cro-Magnon, Root Soul, Sleepwalker, Sauce81, Kyoto Jazz Massive and, of course, band leader Mark de Clive Lowe.

Kicking it all off is ‘Stranger Searching’, where lush electronics meet beautifully executed Jazz in full story mode. A constantly driving beat push this track along through its various chapters, with each member of the band given time tell their tale. Horns from Shinpei Ruike, Kohei Ando and Wataru Hamasaki tie everything together in beautiful harmony.

‘Redeye Reprisal’ hits hard right from the top. With soaring horn lines and beautifully soulful keys from Mark de Clive Lowe, it is drummer Hikaru Arata who is given time to shine in this piece. Wild patterns add to the frenetic nature of the piece, creating drama and mystery before it safely delivers you home.

Flip the record and we are back in story mode again. ‘The Silk Road Prelude’ is Japanese Jazz at its finest. A solid theme gives definition to this piece, with the horns once again providing all the drama you need. Carefully interspersed with beautiful guitar playing from Tsuyoshi Kosuga, and interwoven electronics from Sauce81, drummer Nobuaki Fuji and bassist Shinju Kobayashi control the groove with exquisite detail.

The final track needs no introduction. ‘A Love Supreme’ is what legends are made of. Beautifully reimagined by this fine group of musicians, this is the Sunflower moment, a group showing its full dedication and respect for the Jazz masters. A band of Ronin, dedicated to follow the sun until it sets. 

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Cover of Lady Of Mine by Joe Tossini And Friends.

Joe Tossini And Friends

Lady Of Mine

Joe Tossini Music

    Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

    Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Whatever industry savvy or musical virtuosity he lacked was made up for by unflinching resourcefulness and infectious charisma. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

    The Atlantic City basement sessions are a low budget, high romance testament to Tossini’s character and the power of positive thinking. From the defiant, Casiotone samba of If I Should Fall In Love, to Wild Dream’s dizzying escapism and the native tongue croons of Sulla Luna and Sincerita, Lady Of Mine hums with the inimitable magic of a true original. Piercing the heart with an effectively sparse combination of humming keys, CompuRhythm drums, horn flourishes and backing divas, ample room was left for Tossini to frankly deliver his much-needed life lessons.

    Underperforming commercially at the hands of short lived label IEA Records, Lady Of Mine has since earned a place in the outsider music canon. Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is now finally reissued on the artist’s own terms via Joe Tossini Music, in partnership with Efficient Space, restored from original master tapes with unseen photos, extensive liner notes and Tossini’s trademark wisdom.

    Devoutly independent, Tossini has previously self-released the 2015 instrumental album When You Love Someone as well as two books - a new fiction novel The Devil In White and his autobiography The Account of My Life.


    FORMAT INFORMATION

    Ltd LP includes MP3 Download Code.

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    Cover of Take It / San Frandisco by Dom Dolla.

    Dom Dolla

    Take It / San Frandisco

    Sweat It Out

    Dom Dolla makes a triumphant return, with Take It, a deep, dark, heaving club mix that combines an evocatively catchy vocal, with a deep groove beat to create one hooky production. Off the back of his 2017 ARIA nomination for Best Dance Release for the huge collaboration with Torren Foot on ˜Be Randy", Dom has been busy touring the globe, stewing away in the dark corners of clubs, tweaking Take It, until it reached tech-house perfection.

    "I put the bones of this tune together in a hotel room while road tripping between gigs in Arizona earlier this year, feeling heavily inspired by the west coast club audiences I was playing to. The vocals were written and recorded while sick in bed, using my tour manager's iPhone earbud microphone and a duvet as my vocal booth. At the time I had planned on replacing my recording with a cleaner take when I got home to Australia, but was never able to recreate something I liked as much, so it stayed! It's been slaying it for me ever since.", Dom Dolla had to say on explaining the origins of Take It

    Having received over 20 million streams and consecutive ARIA Club Chart #1s for the former and Define, his 2016 collaboration with Go Freek, it becomes obvious that perfection is a common occurrence for Dom Dolla. Also, giving reason to why Dom has been cherry picked for official remixes by the likes of RUFUS DU SOL, Flight Facilities, Peking Duk, Madison Avenue, Motez and Sneaky Sound System and ongoing festival slots at Beyond The Valley (closing out the festival 4 years running),Splendour In The Grass, EDC Las Vegas and Splash House Palm Springs.

    With Chris Lake, Kyle Watson and Billy Kenny already jumping on board, Take It will be sure to garner a solid amount of support from the big-dogs. This goes without saying when Pete Tong is your biggest supporter, playing a spate of Dom Dolla releases across BBC Radio 1, a guest mix on All Gone Pete Tong and chosen as support for Pete Tong’s huge orchestrated Ibiza Classics show at Melbourne’s Sidney Myer Music Bowl.

    After being tried and tested, this track is 100% guaranteed to rip your heart out and ‘take it’ straight onto the darkest dance floor out there. Australia, hold tight for a tour announce very soon, otherwise you can catch Dom on dance-floors throughout the US from July.

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    Cover of Period Works Vol. 2 by Crackazat.

    Crackazat

    Period Works Vol. 2

    Z Records

    Z Records return with Bristol born, Sweden based wizard Crackazat at the helm. Four trademark jazzy, disco house bombs all instantly catchy in their own unique way. Luscious chords and intricate, uplifting, jazz-infused synthwork permeate every corner of this E.P – an effortless element that has become a Crackazat calling card.

    First up, ‘Fly Away’ hits the ground running mixing exhilarating clavinet chords, joyous vocal chants and summertime guitar riffs with a killer pumping bassline - pure joy housed in those grooves. Next up, ‘Crystal Eyes’ takes a hazier but no less euphoric approach - spiritual keys blend with an expressive, soulful bass and sustained chords as the sun sets with this funked out gem.

    Take to the flip for a double dose of late-night jams. ‘I’ll Be There’ melds crunching claps and snare hits with a bouncing bassline and classic ‘90s, piano house stabs. Add in a healthy dose of filtered female vocals and you’ve got a hands in the air anthem of epic proportions. Rounding off the E.P, ‘Some Day’ goes in big with beaming piano chords and a garage tinged shuffling beat whilst spiritual vocals build and build for an eyes closed peak time breakdown.

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    Cover of Farmerama by A Man Called Adam.

    A Man Called Adam

    Farmerama

    Other Records Ltd.

    Returning after a long-lasting hiatus is no mean feat - how to stay relevant, to plug the gap and come back as strong as where things were left off. A Man Called Adam’s return however, is as emphatic as it is endearing. Sally Rodgers and Steve Jones are back with a brand new album of melodic, emotional, pop-not-pop tracks, bringing fresh layers of feeling, from warmth and passion, to sentimentality and sorrow.

    Displaying a wealth of knowledge gained through two lifetimes spent immersed in music, Farmarama showcases a myriad of styles and richness in arrangements. Moving from soulful slow jams to lo-fi disco, Balearic house to dub, post-rock electronica and art-house ambience, there are glistening horizons and windswept beaches conjured up at every turn.

    Take to the likes of ‘Mountains & Waterfalls’, ‘Farmarama’ and ‘Michael’ and hear dancefloor, disco tinges that marry live percussion, sultry Rhodes and hearty basslines, oozing emotion. But venture deeper to uncover a pensive, yet equally expressive side to the record through tracks like ‘Higher Powers’ and ‘Top Of The Lake’. Take the later as an example, a neo-classical slice of magical ambience, that wouldn’t be out of place soundtracking sweeping views of shimmering scenery. Or ‘Spots Of Time’, beginning as a frenetic, glitched out piece of electronica, before opening into a brooding breakbeat journey.

    Full of vintage warmth, analogue synths and intricate textures, Rodgers, Jones and new collaborator, Paul Smith, combine experimental touches with an undeniable catchiness, balancing electronic elements, with acoustic sparkles. In harmony with this, the contemplative, poetic verses, that considers life as a hi-definition, Westworld-like simulation, a Farmarama, and disco as a way of being, meld and morph a conceptual narrative that tugs on the heartstrings of life.

    Farmarama, then, isn’t your archetypal album. It’s an emotionally charged, intelligent and enlightening body of work that’s Balearic to the bone. 

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    Cover of Diamond Life 06 by Ark X & FFF.

    Ark X & FFF

    Diamond Life 06

    Diamond Life

    Is Coco Bryce the saviour of modern jungle? The Dutch-based producer is certainly doing what he can to both keep the scene fresh and exposed in 2019. With a multitude of labels, mixes and tracks to his name he's a one-stop-jungle production line! Fresh with a new artist in-tow, sub-label Pearl hits its sixth release to date and it's a blissed-out liquid rolling affair from Supercharger head honcho Black Orchid who goes in for some seriously deep and authentic sounding breakbeat driven D&B under his Ark X moniker.

    "X2LV" is basically the perfect representation of the
    vibe Diamond Life was set up for in the first place: lush pads, solid beats and a slightly euphoric yet
    melancholic feel throughout.

    On the flip Myor Massiv and Diamond Life stalwart FFF drops one of his prettiest cuts to date.
    "Know How" showcases the breakcore legend's ability to keep things sparse and beautiful, a slow
    burner of epic proportions.


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    Cover of BROT01 by Felix Leifur.

    Felix Leifur

    BROT01

    Lagaffe Tales

    Lagaffe Tales introduces new BROT series with four electro-tinged cuts from Iceland’s Felix Leifur entitled ‘BROT01’.

    Reflecting the harsh nature of Iceland’s unforgiving, barren landscape, Lagaffe Tales push alternative styles of modern dance music with their new BROT catalogue. Lagaffe’s main series includes releases from Icelandic talent like Intr0beatz, Ilo and label boss Jonbjorn, with Lagaffe Tales maintaining its reputation for supporting local artists by inviting Felix Leifur to the imprint. Felix has built a solid reputation for himself following releases on Frits Wentink’s Bobby Donny label and Dirt Crew Recordings with ‘BROT01’ being the first in a trilogy of releases coming in 2019.

    ‘Brot 1’ kicks things off with resounding electro drums, thick low end and glitchy oscillations before ‘Brot 2’ delivers gloomy synth notes and clattering 909 claps floating around modulating obscurities. Raw percussion balanced with stabbing bass and airy pads take the focus in ‘Brot 3’ until ‘Brot 4 rounds things off with delicate pulsations bouncing delightfully off the polished kicks and wavering melodies keeping you locked in throughout.

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    Cover of Classics 4 by Captain Planet.

    Captain Planet

    Classics 4

    Kampana

    Kampana presents 4 doses of Afro disco and house, from Captain Planet, including his heavily in demand rework of Shina Williams Agboju Logun officially licensed for this release.

    The LA producer is at the top of his game across the EP, serving up a timeless blend of retro vocals, horns and percussion, with subtle but highly effective club-centred production. This record will not leave your box!

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    Cover of Dawn Of A New Era by Jozef K.

    Jozef K

    Dawn Of A New Era

    Afro Acid Plastik

    Prolific Manchester producer, Jozef K’s forthcoming release, Dawn Of A New Era, showcases Afro Acid’s introspective side, with a series of post-apocalyptic, shimmering acid landscapes - which are sequenced, notably, as a complete work.

    After a slew of signings to some of the biggest labels in house and techno we are proud to present this ethereal record from Jozef.

    The EP begins with “I Felt A Presence”, a both heartfelt & dystopian 303 cut containing an atmospheric vocal that alternates between undefined parameters.

    “Between Two Worlds”, Jozef’s acidic ode to Twin Peaks/David Lynch, portrays an intricate interplay between dark and light, (which is an underlying theme of the show for non-TP fans).

    There are also further meanings Mr. K wanted the listener to discover for themselves, a very Lynchian concept indeed.

    Track 3 is the dreamy and pensive “Agkistrodon Contortix“. Another shimmering sci-fi 303 cut.

    The EP’s title track would seem to be the EP’s euphoric peak. A continuation of the isolated, sci-fi-esque 303 based introspection here.

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    Cover of Wonky Techno Banger by Red Rack'em.

    Red Rack'em

    Wonky Techno Banger

    Bergerac

    In March 2018, Danny Berman aka Red Rack’em left behind the grey insanity of Berlin and headed off to the idyllic Devon Analogue Studio for the first of several productive musical retreats, giving him unprecedented access to high end synths plus the time and space to create without distraction.

    After a solid 18 months of activity post album, which combined some serious air miles, relocation back to the UK (after nearly a decade living in East Berlin) some pretty magical moments, he’s back with a heavy EP of genre crossing magic which ushers forth a more edgy, psychedelic sound.

    Like its disco leaning predecessor, Wonky Techno Banger is just simply a track that you have to have in your life. Combining a demented fairground melody, flappy off beat bassline and manic peak time flavour, it’s an absolute thumper which has the potential to radically transform your night/life.

    Devon Analogue 4.2 comes from the same session and sees the Bergerac boss man go into euphoric electro funk mode with distorted claps, an ‘ecstasy’ synth and live slap bass.

    Meanwhile back in Berlin, Rack’em was also working in Iron Curtis studio while he was on tour in the US so final track Nave Gazing was written using just the Waldorf Nave for a thoughtful ambient number to close off the EP. WIBES.

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    Cover of Attack The Dancefloor Vol. 12 by Various Artists.

    Various Artists

    Attack The Dancefloor Vol. 12

    Z Records

    Z Records much-loved label sampler series continues with Vol.12 of their Attack The Dancefloor 12" vinyl releases.

    This latest volume sees a JN remix of the classic Bobby D’Ambrosio track ‘Moment of My Life’ featuring the incredible Michelle Weeks on vocals and killer hammond solos galore. Alongside this, an expertly extended JN edit of American electro-funk duo The APX’s boogie bomb ‘Lose Yourself To The Groove’, ready set for the dancefloor.

    Also housed on this release, a Doug Willis raw edit of Carlos Romanos - 1 2 1 and a remake of one of Joey Negro’s most played disco cuts ‘K – Jee’. A track which holds a special place in JN’s heart – the MSFB rework nestled on the Saturday Night Fever Soundtrack which happened to be the first LP Dave Lee (JN) ever bought.

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    Cover of Philistines 4 And The Giant Banoush by Richu M.

    Richu M

    Philistines 4 And The Giant Banoush

    Monolgues Records

    Rotterdam-based Pole, Richu M, has been impressing with his scuzzy, eclectic output on Young Adults and Astropical that mixes dusty samples with hazy synths, ranging from wonky slo-mo house grooves to jazzy downtempo cuts.

    He brings his colourful patchworks of sound to Monologues for a beautiful mini-album, complete with superb artwork from the man himself.

    Label boss G. Markus aka Ben Gomori steps up to give 'Sorry, I'm Not A DJ' a kick up the booty with a garage house flex.

    Early support: Âme, Auntie Flo, Danny Tengalia, Peter Kruder, DJ Aakmael, Horse Meat Disco, Jamie Trench, Loz Goddard, Ouer...

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    Cover of Brothers On The Slide EP (ThatManMonkz & Pontchartrain) by Various Artists.

    Various Artists

    Brothers On The Slide EP (ThatManMonkz & Pontchartrain)

    Whiskey Disco

    It's a Detroit via Sheffield connection on the latest Whiskey Disco as Motor City's Pointchartrain joins forces with the Steel City's ThatManMonkz for quad-pronged attack of new disco-house and bumpety slo-mo grooves.

    It's inimitably Whiskey Disco through and through, contrasting rich musicality with sound system dynamics and mastering. The label have been soundtracking the tastier side of bar music across MCR and beyond for well over a decade and this latest offering doesn't let up on high quality, easily-digestible grooves for both the floors, coffee tables, BBQs and terraces, with both producers adapting to the format in inventive ways.

    Can't help feeling that both producers are looking towards the warmer seasons on this release as all four tracks exude a natural radiance, led by bright brass and funky, palm-muted guitar parts; it's the very epitome of dancing around a leafy lawn in the southern suburbs with an Aperol spritz in your hand and Wet Play's Swayward on the 1s n 2s. Grab yer favourite shorts n shades combo and come join the fun!


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    Cover of Coarse - Inc. Justin Cudmore Remix by Joshua James.

    Joshua James

    Coarse - Inc. Justin Cudmore Remix

    Phantasy Sound

    Erol Alkan welcomes Joshua James to Phantasy for his debut release ‘Coarse’ featuring The Bunker NY producer Justin Cudmore on remix duties.

    A fixture of London’s dedicated queer club scene, James maintains a trio of distinct residencies, including XOYO, the notorious 'Savage' parties, as well as fortnightly on Rinse FM. On this unapologetic and upfront track, the DJ-turned-producer instantaneously captures the raw energy and sexuality that underpin his life by night, backed by a remix from a key figure in the US underground, Justin Cudmore.

    Designed with sweatboxes and serious sound-systems in mind, ‘Coarse’ wastes no time in establishing its rude intent; hammering jack-bass, orgasmic cut-up vocals and larger-than-life synthlines flirt expertly from the off, before the track descends into outright sleaze in the spirit the of gnarlier edge of acid-house. Only a series of breathless gasps indicate you’ve safely reached the other side… A personal weapon for James each week behind the decks, as well as for Phantasy founder, Erol Alkan, ‘Coarse’ is a powerful dancefloor paean with only one (well, maybe two) things on its mind.

    Having turned heads with his own uncompromising acidic perspectives on labels such as The Bunker NY, Phonica White and Honey Soundsystem, New York-based DJ and producer Justin Cudmore unfurls ‘Coarse’ in a trippier, deeper direction, nonetheless still bumping in a style that subtly recalls the peak-time sound of classic 90s NYC clubs like The Tunnel.

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    Cover of Birds (Continuación) by Ricardo Tobar.

    Ricardo Tobar

    Birds (Continuación)

    ESP Institute

    After a brief wander ‘round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017’s Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He’s not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album’s packaging. The first single surrounding the Continuidad album is Birds (Continuación), a glorious extension of the album track that conjures imagery of shaman-led rainforest exploration and illustrates the artist’s affinity for Latin-American percussion. The flipside is an exclusive non-album cut La Venida Del Mar, a bonafide big room thumper that carries all the rave seasonings we’ve come to crave from Tobar.

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    Cover of Womanhood EP by Klein Zage.

    Klein Zage

    Womanhood EP

    Orphan

    Klein Zage is a woman with some really nice friends. OR.003 is a swift explosion of pepper spray house and feminine energy UKG with remixes by Orphan. party alumni. 'Womanhood' is a nihilistic declaration of menstruation. 'Absolutely' a UKG masterclass in orgasm.

    'She’s Out There' a self-help book made by the patriarchal system.

    DJ Python’s remix is a meditation on retaliation. KZ and Python bonded over a mutual respect of lonely dance floors and late night pizza.

    Ariel Zetina brings her love of UK bass to the floor. The two bonded over Silk Road and Pulse X.

    Local Artist's cult mix, an instant Balearic hit! The two bonded over broken sinks and Overcooked.

    Womanhood is an EP for the pleasure revolution, enjoy at your own risk.

    Orphan./KZ Bio

    Klein Zage is the newly revealed moniker of DJ/Producer and co-founder of Orphan., Sage Redman. She founded Orphan. in 2015 with her friends Joe Gillick and Billy Meddleton. The three began throwing bi-monthly parties in Deptford; their aim was to feature the unsung heroes, the seminal artists that weren’t often regulars in the crowded London club circuit. Come 2017 the trio found themselves divided by an ocean - Joe and Sage forced to relocate in Seattle after her visa expiration, and Billy to Berlin. Despite the distance, Orphan. carried on with events in each location (hosting the likes of DJ Python, Equiknoxx, DEBIT, Lapalux, Sylvere and many more) and launched Orphan.

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    Cover of Designer by Aldous Harding.

    Aldous Harding

    Designer

    4AD

      Aldous Harding releases her third album, Designer. Designer finds the New Zealander hitting her creative stride. After the sleeper success of the internationally lauded Party, Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road.

      Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen. From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

      FORMAT INFORMATION

      Coloured LP Info: Limited gold vinyl, one pressing only, indies only.

      Coloured LP includes MP3 Download Code.

      LP includes MP3 Download Code.

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      Cover of Dance Music Pt.2 by Levon Vincent.

      Levon Vincent

      Dance Music Pt.2

      Novel Sound

      "Dance Music Part 2" continues Novel Sounds impressive stride with another trio of Vincentian classics straight from the studio. Check! 

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      Back in stock Cover of Sofa So Far by Various Artists.

      Various Artists

      Sofa So Far

      Funclub

      Fresh of their most busy year actively djing in Milan and across Europe, Ayce Bio, Turenne and Borbo are ready to launch a new Ep: One track each + a Remix by Bologna’s finest producer and vinyl collector DJ Rou.

      Mixed and mastered by Reel Mastering, distributed by Rubadub Uk.

      Funclab records runs a monthly show on Rocket Radio and a club night at Apollo club, inviting al- ways different dj’s and producers to share the decks with them, among others they played with San Proper, Boo Williams, Eclair Fifi and Pangea.

      After the first release “House al dente”, they spent one month during the summer touring with a van around Europe to promote the vinyl, going to their favourite radios and vinyl stores to bring it personally, ending at Barrakud festival in Croatia in front of two thousand people with a dj set and set design.

      The collective is the real strength behind the newborn record label, collaborating with a lot of local producers they’re always working on new things, in the next few months they are going to release also a various and other two eps. 

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      Cover of King Kiang - Inc. Powder Remix by BBRB.

      BBRB

      King Kiang - Inc. Powder Remix

      Fragrant Harbour

      Hong Kong based label FGHB. (Short for “Fragrant Harbour”) is continuing their steady outputs of two releases a year with this time an EP from BBRB, a Taiwan based duo composed of Riles Jay Bilgo and Benoit Bouquin (who usually released under “L’Amour Fou” along with Move D and Marco Wollenberg) as a 6th release. Powder (Cocktail D’Amore) and Mr. Ho (Klasse Wrecks) completes the EP with a signature space workout of a remix of ‘Cat Slaves’ and a powerful EBM version of “Two Policemen”.

      Supported By: Roi Perez (Panorama Bar), rRoxymore (Ostgut Ton / Human Level), Yu Su

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      Cover of Felipe Gordon & Vagabundo Club Social Edits by Felipe Gordon & Vagabundo Club Social.

      Felipe Gordon & Vagabundo Club Social

      Felipe Gordon & Vagabundo Club Social Edits

      Razor-N-Tape

      Felipe Gordon and Vagabundo Club Social (aka Jaime Tuiran) deliver 3 excitingly unique edits in their first 12” outing on RNT, sourcing the Afro-Carribean sounds of their native Colombia.

      From the Latin-Afrobeat flavor of 'Shakala', to the Salsa-funk swing of 'Los Bareteros', or the Cumbia-inflected romp 'El Cateter', this 12” is something quite different than the typical edit fair, and a likely new staple for any box!

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      Cover of Afrobeast (Danvers / Ben Gomori Edits) by Yaaba Funk.

      Yaaba Funk

      Afrobeast (Danvers / Ben Gomori Edits)

      Sterns Edits

      Formed in Brixton in 2006, afrobeat band Yaaba Funk have released two albums with Sterns Music and performed numerous acclaimed live shows — including support slots for Seun Kuti and Ebo Taylor.
      Rapidly rising star Danvers (also of Kassian) takes the infectious energy of 'Oman Foa' into a triumphant new direction, with one of his broken beat rhythms at its core — recalling his big summer track 'Aye Ata' which received heavy support from the likes of Gilles Peterson and Midland. With a succinct arrangement that lets the joyous brass and powerfully harmonised vocals shine potently, it's a feel-good party music that works wonders when deployed at the right place and time.
      'Hwe Hwe Mu Na Yi Wompena' is Yaaba Funk's cover of the Ghanian highlife singer K. Frimpong and his Cubano Fiestas' irresistible 1977 track, which Ben Gomori strips back into two instrumental-focused versions. His 'Message Of Love Edit' is a summery, housey flip with trumpets mutated into synths and the bass pumped up with chunky distortion, while his 'Message Of Love Live Dub' zones in on the live grooves with just a little extra embellishment.


      STAFF COMMENTS

      Patrick says: Ben Gomori and Danvers take note of the recent change in weather and energy here, revisiting a couple of Yaaba Funk tracks with a new dance floor focus. Mile wide smiles all round I reckon!

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      Cover of Love Freeze (DJ Spinna) by First Choice.

      First Choice

      Love Freeze (DJ Spinna)

      Brookside Music

      First Choice classic, "Love Freeze", gets the DJ Spinna treatment turning the soul-laden, 6-minute 1975 version into a near 10-minute disco soiree, which has never before been on vinyl.

      It’s a delicate task taking on productions of this quality, yet Spinna stays true to the ’75 version tweaking it for the modern-day dancefloor - upping the tempo, adding an accapella intro before the subtly beefed drums drop alongside that majestic horn section. Graceful touches and reverberating echoes enhance choice phrases and breakdowns, added passages are weaved in backed with cosmic swirls, as Spinna expertly manages to extend the feelgood fire this First Choice classic commands.

      With the original long version on flip, the choice is yours! 


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      Back in stock Cover of B-Boys Style by Lil' Jazzy Jay & Cool Supreme.

      Lil' Jazzy Jay & Cool Supreme

      B-Boys Style

      Easy Street

      Hip hop heads, 7" buffs - Check this one!

      Earth shattering early 80's Bronx sounds transmitted back to us as fresh as the day they were terraformed! NYC's Easy Street label is known for its contributions to house music, electronic disco and boogie, but there were a handful of early rap singles on the label too, including this megaton bomb from the freshly monikered Lil' Jazzy Jay & Cool Supreme from '85, all the way live. This record has it all, dubbed out FX, vox, cuts and brain frying vocoders..... not to mention the monolithic drum machines and dope braggadocios rhyming.

      This is the FIRST TIME this mid 80's rap rarity has been made available on a 7". Both the 'club vocal' & 'dub instrumental' are featured here, cut at 33 rpm for maximum sonics. Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

      STAFF COMMENTS

      Patrick says: Brimming with wild synthlines, freestyle sequences and ruff drum machines, this ain't just for the B-boys - boogie, electro, streetsoul and cosmic kids enquire within...

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      Cover of Spirit Of Love by Eddie Palmieri.

      Eddie Palmieri

      Spirit Of Love

      Epic

      Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album "Lucumi, Macumba, Voodoo" get the official, remastered reissue treatment – with original copies of the 7” trading hands for upwards of £60.

      Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri’s brother Charlie.
      In an era dominated by disco, ‘Spirit Of Love’ took to the dancefloor, drawing on the glamour and magnetism of the late ‘70s. Palmieri’s distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. ‘Spirit Of Love’ is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!
      On the flip ‘Lucumi, Macumba, Voodoo’ is a masterpiece of Latin fusion, with Palmieri’s unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it’s a recipe of Caribbean spice that’ll liven up any record collection.


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      Cover of Vol. 1 (Purple Vinyl) by Wu-Tang Meets The Indie Culture.

      Wu-Tang Meets The Indie Culture

      Vol. 1 (Purple Vinyl)

      Babygrande

        Anchored by Wu-Tang members/affiliates, album features guest appearances by heavy-hitter commercial (Wu-Tang) and underground elite artists including GZA (Wu-Tang), RZA (Wu-Tang), Masta Killa (Wu-Tang), U-God (Wu-Tang), MF Doom, Aesop Rock, R.A. The Rugged Man, Sean Price, Roc Marciano, Ras Kass, Tragedy Khadafi, Vordul Mega (Cannibal Ox), Vast Aire (Cannibal Ox), Del The Funky Homosapien (Hieroglyphics), Casual (Hieroglyphics), Planet Asia, C-Rayz Walz, J-Live, Jim Jarmusch, among others.

        Production duties exclusively handled by Wu-Tang members and affiliates: RZA, Bronze Nazareth, Allah Mathematics, Preservation, DJ Noize. Multiple hip-hop sub-culture targeting/appeal: rabidly loyal Wu-Tang Clan fan constituency, niche underground hip-hop fan contingent. Guest appearances from both East and West coast underground hip-hop lyricists will facilitate the broadest consumer appeal amongst this niche demo. 

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        Cover of Laughing Eye by Laughing Eye.

        Laughing Eye

        Laughing Eye

        Hoga Nord

          Rooted in Swedish psychedelic folk music, Hanna Östergren (Hills, Träd Gräs och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Östergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Höga Nord Rekords now releases her debut album. Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, “Agnetero / Huset” Östergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system. Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret. 

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          Cover of A Gift From Midnight by Fenella.

          Fenella

          A Gift From Midnight

          Last Night From Glasgow

            The debut album from Fenella walks the path where Martha Wainwright meets Edith Piaf – a Torch Singer with a dazzling vocal range. The album crosses many musical boundaries, from Jazz to Folk to Cabaret. This is a joint release between Last Night From Glasgow and the students of Riverside Music College and their Little Tiger imprint. Fenella are vocalist Mairi Whittle and guitarist/pianist Jack Boyce

            FORMAT INFORMATION

            LP includes MP3 Download Code.

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            Cover of Ilana (The Creator) by Mdou Moctar.

            Mdou Moctar

            Ilana (The Creator)

            Sahel Sounds

              Born in a nomad camp in Niger and now a leading figure of desert rock, Mdou Moctar stands out as the most innovative artist in contemporary Saharan music. His unconventional interpretations of Tuareg guitar have pushed him to the forefront of a crowded scene. In contrast to polished “world music” fare, Mdou trades in unrelenting grit and has no qualms about going full shred. A long time coming, “Ilana” is Mdou’s first true studio album. Recorded in Detroit at the tail end of a US tour by engineer Chris Koltay (who met after bonding over ZZ Top’s “Tres Hombres”), Mdou lived in studio for a week, playing into the early hours and accompanied by an all-star band: Ahmoudou Madassane’s (Les Filles de Illighadad) lighting fast rhythm guitar, Aboubacar Mazawadje’s machine gun drums, and Michael Coltun’s structured low-end bass. The result is Mdou’s most ambitious record to date, taking tradition into into an ever louder and blistering direction. From the rock anthem “Tarhatazed,” to the Van Halen tapping of “Kamane Tarhanin,” “Ilana” stands amongst the greats of classic rock, albeit accidentally. “I don’t know what rock is, I have no idea,” he says, “I only know how to play my style.” 

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              Cover of Well Done Instrumentals by Statik Selektah.

              Statik Selektah

              Well Done Instrumentals

              DCide

                2011's Well Done is widely considered to be among emcee Action Bronson and producer Statik Selektah's finest work to date. This is an album couldn’t have a better fitting title, as it filled the void hip-hop fans around the world had been yearning to fill. Repping Boston, New York & New Hampshire Statik Selektah is known as the "east coast boom bap ambassador" and holds down weekly radio slots on Eminem's Shade 45. He has produced & worked with Mac Miller, Nas, Run The Jewels, G-Eazy, 2 Chainz, Wiz Khalifa, Joey Bada$$, Jadakiss, Bun B, Dave East, Joyner Lucas, Sean Price. Check out "Well Done” and get reminded of how good rap used to sound. The instrumental version of Well Done is now available for the first time ever as a special edition Clear Vinyl 2XLP set

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                Cover of 21 Girls Salute by Barrington Levy.

                Barrington Levy

                21 Girls Salute

                Jah Life

                  First release in 20 years. Mixed by Scientist at King Tubby’s Studio. Great cover art from renowned Reggae artist Jamaal Pete. Barrington Levy's 3rd LP for Jah Life, another killer selection from the fruitful works of the Wright/Lawes/Levy axis. From the golden era of the Radics at Channel 1, mixed by Scientist at Tubby's, 10 tracks, great all the way thru. Finally available again, this was only repressed once before in the late 1990's, other than its original release in the early '80s. 

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                  Cover of Non Ex Orbis by Karl Hector And The Malcouns.

                  Karl Hector And The Malcouns

                  Non Ex Orbis

                  Now-Again Records

                    Kraut-jazz-rock produced by JJ Whitefield (Poets of Rhythm/Whitefield Brothers). The long-standing band’s third album. Featuring Marja Burchard (Embryo). Download card for WAV files included. It’s been over ten years since Karl Hector and the Malcouns’ Sahara Swing saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. Hermes designer Christophe Lemaire picked tracks from Karl Hector and The Malcouns as amongst his favorites in the Now-Again catalog, and included them on his Where Are You From anthology. Festival promoters intrigued by the possibility of resurrecting the careers of once forgotten African mavericks – from Ghana’s Ebo Taylor to the progenitors of Zambia’s Zamrock scene – brought Hector and crew across Europe playing festivals for ecstatic fans.

                    Producer JJ Whitefield even founded an Afro-Rock band, Johnny!, with Taylor’s son Henry. Unstraight Ahead, their sophomore release from 2014, found the band exploring territories even outside of the expansive scope of Sahara Swing: West African sounds of Ghana and Mali met the East African sounds of Mulatu Astatke’s Ethiopian jazz, tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift. “We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield stated at the time of Unstraight Ahead’s release. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” Non Ex Orbis, the band’s third studio album, digs deeper into the Krautrock history embedded deep in the soil of their native Munch - three of the most influential bands of the 1970s experimental German rock scene spurng from there: Amon Düül, Popol Vuh and Embryo.

                    Influenced by these musical heroes, Whitefield shapes a sound that takes the experimental approach of the classic Krautrock era and slides between beat-heavy drone and spacey, prog-rock suites. Marja Burchard, daughter of Embryo mastermind Christian Burchard, fronts the group on keyboard, vibraphone and other-worldly vocals. Al Markovic joins longstanding Malcoun Zdenko Curilija to round out the ensemble. Non Ex Orbis, read by Whitefield and the band as Out Of This World, symbolizes an innocent way of composing and improvising music, free from the influences of our contemporary environment, preserving a childlike way of hearing sounds in their unfiltered purity. “Some will classify this as a retro, but for the band it simply is a form of creating, Whitefield states. “We’re drawing from an established musical vocabulary which was popular at a time in Germany, when underground musical culture had its creative peak”. 

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                    Cover of Mise En Abyme by Joni Void.

                    Joni Void

                    Mise En Abyme

                    Constellation

                      Mise En Abyme is the second full-length by Joni Void, the avant-electronica project of France/Canada producer Jean Cousin, following his acutely accomplished and acclaimed 2017 debut album Selfless (#8 Experimental Album of 2017 at Pitchfork). Consistent with Selfless, the primary materials for the sample-based cut-up songcraft on Mise En Abyme are Cousin's recordings of the voices of various friends. His self-professed body/voice dysmorphia, social disphoria, and search for the disembodied-yet-emotional transcendent subject, continues to compel the use of other (predominantly non-verbal) voices in the construction of these sublimely affecting electronic-minimalist compositions.

                      Mise En Abyme is markedly more introspective and meditative than its predecessor, explicitly in search of intimacy and recuperative beauty. Grappling with a cascade of heartbreaks and discontinuities over the past year, Cousin also calls the new album a "time-travel experiment", as he culls sounds from devices and sources spanning childhood to the to retrieve and reframe subjective memories, histories and "regressions through former selves" via immersion in the evocative potential of the mostly wordless voices of others. The resulting song cycle is a remarkable blend of conceptual abstraction and highly emotive warmth, interiority, humanity and specificity.

                      Mise En Abyme is the second full-length by Joni Void, the avant-electronica project of France/Canada producer Jean Cousin, following his acutely accomplished and acclaimed 2017 debut album Selfless (#8 Experimental Album of 2017 at Pitchfork). Consistent with Selfless, the primary materials for the sample-based cut-up songcraft on Mise En Abyme are Cousin's recordings of the voices of various friends. His self-professed body/voice dysmorphia, social disphoria, and search for the disembodied-yet-emotional transcendent subject, continues to compel the use of other (predominantly non-verbal) voices in the construction of th ese sublimely affecting electronic-minimalist compositions. Mise En Abyme is markedly more introspective and meditative than its predecessor, explicitly in search of intimacy and recuperative beauty. Grappling with a cascade of heartbreaks and discontinuities over the past year, Cousin also calls the new album a "time-travel experiment", as he culls sounds from devices and sources spanning childhood to the to retrieve and reframe subjective memories, histories and "regressions through former selves" via immersion in the evocative potential of the mostly wordless voices of others. The resulting song cycle is a remarkable blend of conceptual abstraction and highly emotive warmth, interiority, humanity and specificity. 

                      FORMAT INFORMATION

                      LP includes MP3 Download Code.

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                      Cover of Lifelike by FACS.

                      FACS

                      Lifelike

                      Trouble In Mind

                        "Chicago trio FACS was founded in 2017 by former Disappears members Brian Case & Noah Leger, along with their bandmate Jonathan van Herik. After van Herik amicably parted ways with the group just before their debut album "Negative Houses"'s release, Case & Leger recruited longtime friend Alianna Kalaba (Cat Power, We Ragazzi) to play bass. "Lifelike" is their sophomore release; six tracks clocking in at half an hour, carrying forward the musical trail blazed by the debut towards a new frontier. "Lifelike" occupies a space in between the band's debut & Case & Leger's work with Disappears, applying minimalism & space in compositions that reside somewhere near the realms of post-punk, art-rock, shoegaze, industrial music & post-rock. "Lifelike" however adds a more melodic sensibility, without sacrificing any of the debut's punishing sonic muscle, with a discernible audial force perceivable thru the speakers (credit due to engineer Jeremy Lemos' recording via Electrical Audio as well as John Congleton's mastering for accurately capturing the punishing heft of the band's live sound)"

                        Kicking off with the lumbering "Another Country", whose opening drone lulls the listener into a trance before Leger's drums crack the earth below. The band veers close to This Heat territor y here, with Kalaba's minimal bass throb and Case's nearly unrecognizable guitar loops and multi-tracked voice punctuating the spaces between. Album standout "In Time" careens with purpose with cascading sheets of guitar noise over the rhythm sections ever-advancing march, while "XUXA"s melodic washes of monochrome eases the tension ever so slightly. Side two awaits, with the anxiety-ridden opener "Anti-Body" and the claustrophobic "Loom State"s clanging aura of menace. "Lifelike" closes with "Total Histor y", whose syrupy shuffle belies the blunt-force trauma of its closing minutes, with the sheer weight of sonic force seeming to blow out the speakers it emanates from. A phoenix returning to the ashes from whence it came. 

                        FORMAT INFORMATION

                        Coloured LP Info: Indies-only light blue vinyl version.

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                        Cover of All Heads Will Roll by Snakerattlers.

                        Snakerattlers

                        All Heads Will Roll

                        Dirty Water

                          Dirty Water are releasing a record from one of the UK's most dynamic bands, from the deepest, darkest depths of Yorkshire. Delivered with force and ferocity from Snakerattlers. The second album from a chaotic two-piece known as Snakerattlers. Snakerattlers is a band comprising of married couple Dan Oliver Gott and Naomi Gott. It's a hellbound voyage of rockabilly, garage, and traditional gum-chewing greaser rock and roll, delivered with venom and intense bursts of raw, erratic power. Intensive, thunderous drumming. Reverb-drenched double-amped guitar. Aggressive and haunting vocals. A screaming, wailing terrifying version of the rockabilly genre. After a few small shows in 2016 to spark the fire, including a live session for BBC Radio, the band set 2017 ablaze. They played a total of 62 shows in England, Scotland, The Netherlands and Switzerland. The recorded their first album, "This Is Rattlerock" and released it though a small independent record label based in the north east of England, called Moon Skull Records.

                          Snakerattlers had a full-page feature in UK Rock And Roll Magazine in support of it, and their album landed to positive reviews from Louder Than War, The Punk Site and Ringmaster to name but a few. In amongst their 62 shows in 2017 were stand-out performances at "Bedlam Breakout" in September, a support slot with "The Gories" in July and a set at the legendary Swiss venue "Helsinki Club" in November. By the end of the year, the band had developed it's stagecraft, and was regularly executing a precise and intimidating live show. The band gigs relentlessly in the UK and Europe. In their two years together, Snakerattlers have completed over 150 shows, and have developed live stagecraft that has been described as "intimidating" and "an experience rather than a gig". The potent energy of their songs has been captured accurately on this latest album. It has been recorded with passion, determination and true Yorkshire grit. 

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                          Cover of Jurakan by Mystic Jungle.

                          Mystic Jungle

                          Jurakan

                          Periodica

                          Mystic Jungle is back with 4 killer tunes!! Four slabs of stylish and edgy electronic Italo-Disco cuts by the head honcho of Periodica Records and Futuribile Record Club. Four essential exotic tunes coming straight from his West Hill Studio in Italy. Recommended!!!

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                          Cover of Biscotte by Jules Etienne.

                          Jules Etienne

                          Biscotte

                          Funnuvojere

                          Jules Etienne, formerly known as J.E.E.P. is an imaginative multi-instrumentalist. The french artist has been collaborating different times with label owner Massimiliano Pagliara and you might remember "Egyptian Nipples", their duo project that came out on A personal Music not long ago. Funnuvojere is proud now to present his "Biscotte" a little jewel of beautiful harmonies. This EP takes its inspiration from a range of disparate elements.If the funky house groove of the title track and A2 "MS20 (The Answer)" stage a colourful dance party winking to Klein and MBO's glitterballs; B1 "Pyongyang Blues" dives deep into the night with an acid throb embellished by bells and cosmic pads.The EP closes up with "Thyle II" a calming luxuriant balearic composition. An ear pleaser in pure Funnuvojere style.

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                          Cover of Uncanny Valley 50.1 by Various Artists.

                          Various Artists

                          Uncanny Valley 50.1

                          Uncanny Valley

                          The Dresden label Uncanny Valley celebrates its catalogue number 50 with a compilation series that stretches over several records. That's also a return to the beginnings of the label, which started in 2010 with four compilation records. The first record of the series is already a foretaste of an upcoming summer. With FFanta Korn Tanker Hessen's Golden Boy Lauer stomps through the club, while letting the magic speak through keys. Summer Interlude by James Booth is playing out on an entire range of feelings, banging hard and showing off the European producer's Pop music sensibilities as well. On side b we have the two Dresden based producers Sandrow M and Will Dubner with their fun and funky bass line monster Disco Schlamboni. While Sandrow M is already established on the label with two solo EPs under his belt, it's the first outing from not-so-new-comer Will Dubner. Another new face is Berlin's Jules Etienne who contributes Dude's Den, a first class Disco affair, complete with beguiling vocals and arousing percussions.

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                          Cover of Mothership by Dwight Trible.

                          Dwight Trible

                          Mothership

                          Gearbox

                            The godfather of the LA sound, and possibly the World’s greatest living Jazz Vocalist, returns with his masterpiece.

                            Timeless, yet made for our times - this is a double album of spiritual jazz, soul, gospel, and psychedelic rock.

                            Recorded at LA’s Sunset Sound, and backed by a band of legendary musicians (including Kamasi Washington), this is a work of true beauty.

                            A tour de force that reveals Dwight’s kinship with Spiritualism

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                            Cover of We Are Here To Party by Gratitude.

                            Gratitude

                            We Are Here To Party

                            Athens Of The North

                            Gratitude's rare Canadian disco 12" is well know to the heads, there is also a VERY rare 7" with a slightly alternate mix that is almost entirely unknown (not even listed on Discogs).

                            'We Are Here To Party' is a driving Deepfunk disco banger in the vein of King Tut. On the flip 'Loving You' is a Chic influenced disco production as strong as the A-side, always good when its a solid flip as well. We have taken the 12" Versions and put it on to 45, the forthcoming David Haffner compilation will have the even rarer 7" Version on it. Back into disco turf, loads more on the way.




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                            Cover of Raw Honey by Drugdealer.

                            Drugdealer

                            Raw Honey

                            Mexican Summer

                              “All anyone wants to be is what they can.”

                              After becoming enmeshed in the Los Angeles underground scene after 2013's The End of Comedy, Raw Honey (Michael Collins second album as Drugdealer) sees Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.

                              Raw Honey features contributions of Josh Da Costa (drums), Jackson MacIntosh (guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.

                              FORMAT INFORMATION

                              Coloured LP Info: Limited edition indies exclusive 'honey gold' coloured vinyl.

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                              Cover of In Togetherness (feat. 33 1/3) by Judy Pollak.

                              Judy Pollak

                              In Togetherness (feat. 33 1/3)

                              Athens Of The North

                              Judy Pollak's late 70s LP is extremely rare and charming peace of music. Not just a Soul and Funk LP, sprinklings of folkiness in Judy's vocal make this a fairly unique and fantastic listen, no wonder it can hit $1000 when it comes up for sale. Recorded in 1977 at PAC 3 Studio, Dearborn, Michigan, where bands such as Al Hudson, Floaters, C.J. & Co and many more recorded. Judy used to hang out on the music scene and was introduced to the band via a mutual friend and Sax player Charlie Gabriel. 33 1/3 who were from Detroit got together with Judy who was living Living between Southfield, Michigan and North Carolina at the time and this LP is the result. Enjoy.


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                              Cover of Morningside by Swimming Tapes.

                              Swimming Tapes

                              Morningside

                              Hand In Hive

                                Morningside is the debut album from London five-piece Swimming Tapes, who enjoy comparisons with Real Estate and Belle & Sebastian for their dreamy brand of nostalgic indie. The record arrives following long-term worldwide support across press, radio and streaming services from the likes of The Line Of Best Fit, DIY, Huw Stephens, KCRW and Spotify, who have championed the band with numerous editorial playlist additions, culminating in well over 10 million combined streams

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                                Cover of Careful by Boy Harsher.

                                Boy Harsher

                                Careful

                                Nude Club

                                  Boy Harsher return with their new album Careful - a wild ride that celebrates abandon, while mourning attachment + love.

                                  The ten songs on Boy Harsher’s second full length album, Careful, spanning forty-four minutes, contain eerie narrative soundscapes that are both bracing, high tempo and dynamic. The album delivers manifold emotions, from the nostalgic yearning of “LA” to the gripping intensity of “Come Closer”. The nervousness of Augustus Muller's bent, out of tune synths paired with the lush and sometimes brittle vocals of Jae Matthews, delivers an unsettled, yet fulfilling encounter with Boy Harsher.

                                  Careful summons a new spirit for the young band - that of growth and desire and it marks Boy Harsher’s most dynamic album to date. The band expands upon the fine-tuned production developed in their last EP Country Girl, but with plenty of nods to the fast tempo and grittiness of Lesser Man.


                                  FORMAT INFORMATION

                                  Coloured LP Info: Indies exclusive white vinyl.

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                                  Various Artists

                                  Buntús Rince (Explorations In Irish Jazz, Fusion & Folk 1969-81)

                                  Allchival

                                  ‘Buntús Rince’ translates from Irish as ‘basic rhythms’, and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

                                  Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

                                  Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

                                  A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world’s most renowned artists. The 1960s would see the emergence of the ‘beat’ scene in Ireland, with groups like Granny’s Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
                                  The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
                                  The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
                                  While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
                                  Thankfully for those who remained, this new emerging scene didn’t go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D’Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

                                  Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson’s synthesizers; ‘Buntús Rince’ lifts the lid on a vastly underappreciated period of Irish music history.
                                  One for the collectors.

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                                  Cover of Disco Jazz - Reissue by Rupa.

                                  Rupa

                                  Disco Jazz - Reissue

                                  Numero

                                    Barely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. Tracked in Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, Disco Jazz is a perfect fusion of East and West. Sarod and synthesizer intricately weave around one another for 37 transcendent minutes, culminating in the viral hit “Aaj Shanibar.” Remastered from original analogue source material and issued with permission and blessing of the producers and performers.

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                                    Cover of Erasureland by Strand Of Oaks.

                                    Strand Of Oaks

                                    Erasureland

                                    Dead Oceans

                                      “When I was writing these songs, every day I would walk on the beach and I was completely alone and overwhelmed by fear...but then I realized how there really aren’t any rules for who you are, who you’ll become, or who you think you need to be. Eraserland is just that. It’s death to ego, and rebirth to anything or anyone you want to be.”

                                      In December 2017, Tim Showalter was uncertain about his next record and the shape it would eventually take. With no new songs written, he was unprepared for the message he would receive from his friend Carl Broemel, the conversation that would follow, and the album that would become Eraserland. Leading off with standout track “Weird Ways” and his powerful declaration of “I don’t feel it anymore,” Eraserland traces Showalter’s evolution from apprehension to creative awakening, carving out a new and compelling future for Strand of Oaks.

                                      Revived by the support of Broemel and his bandmates, Showalter felt the pressure to deliver songs worthy of musicians he had admired long before and after a 2015 Oaks/MMJ tour. So in February 2018, he spent two weeks alone in Wildwood, New Jersey writing and demoing all of the songs that would eventually comprise Eraserland. And in April, he went into the studio to record with Kevin Ratterman at La La Land Studios in Louisville, Kentucky, and with Broemel, Hallahan, Koster, and Blankenship as his band. Jason Isbell also contributed his Hendrix-esque guitar work to Eraserland, while singer/ songwriter Emma Ruth Rundle provided gorgeous vocals. Every song was recorded live, with all musicians playing together in one room and working to bring Showalter’s ideas to fruition. “I remember sitting next to Tim and Kevin listening to the final mixes with tears rolling down my cheeks,” said Hallahan. “From start to finish, this one came from the heart.”

                                      FORMAT INFORMATION

                                      Coloured LP Info: Cloudy white vinyl.

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                                      Cover of Let Yourself Be Seen by Doomsquad.

                                      Doomsquad

                                      Let Yourself Be Seen

                                      Bella Union

                                        Even this far into the 21st century, the recent social media furore surrounding US congresswoman and free-style dancer Alexandria Ocasio-Cortez illustrated that the spectacle of someone dancing without compunction can still ruffle the right (and alt-right) feathers. In which case, all hail the third album from Toronto’s ardent, art-dance sibling trio Doomsquad. Let Yourself Be Seen is the most assertive, ambitious, groove-sodden declaration of intent yet from Trevor, Jaclyn and Allie Blumas: the sound of dancefloor believers and thinkers firing on all personal and political fronts, at a time when we need it most.

                                        Even if Doomsquad never lacked the courage of their convictions, Let Yourself Be Seen ups the stakes. On 2016’s Total Time, the trio issued invitations to free your mind, body and spirit over dirty bass-lines and hypnotic disco jams. And yet, their reliance on unspoken sibling intuition left them fearing that much of its “message and meaning” had gone unheard. Thus, the trio took a more forthright approach for their third album, aiming to “crystallise what Doomsquad is and what it means to us. What we always knew but put at the forefront of this record is that Doomsquad is a project of protest, catharsis and emotional and spiritual reconnection through music and, especially, through dance-music culture. It’s about activating the body on the most fundamental level, into states of change, release and reunion.”

                                        Richly steeped in the influences of acid house, West African disco, spiritual jazz, NYC no-wave and new-age ambient music, Let Yourself Be Seen hums with a sense of vigorous, invigorating purpose. After the overture of ‘Spandrel’, ‘The General Hum’ sends out a buoyant new-wave rallying cry for maximised engagement just when the world seems intent on stifling it. “Is there a place for spirit anymore?” it asks. Kicking in with a percussive bustle that all but defies you to try and stand still, ‘Aimless’ answers in the affirmative.

                                        Elsewhere on the album, Doomsquad’s own dynamic thematic engagement alights on subjects ranging from formative influences to modern societal struggles and eco-crises. ‘Let It Go’ grapples with the challenges of social change at 140BPM, climaxing with a scalding guitar solo to match the heat of its questioning thrust. The mellifluous ‘Emma’ reflects on early-20th-century anarchist and activist Emma Goldman; ‘Dorian’s Closet’, meanwhile, honours New York drag queen Dorian Corey. “Let Yourself Be Seen was fuelled by the inspiration of outsider artists and thinkers before us,” say the band. “Through these songs, we get to glorify some of our heroes.”

                                        Doomsquad's intent to carry their heroes’ “messages of empowerment, release and spiritual self-determination” to new audiences peaks on the title-track, where the album’s disparate parts build to a disco inferno with a call to “Let yourself be seen!” ‘The Last Two Palm Trees in LA’ offers an empathetic take on a similar theme, based on the acceptance of ageing, before ‘Weather Patterns’ steers a reflection on unity in the face of global crisis to a buffeting crescendo with a thrilling urgency.

                                        The result is an album for fraught political times, charged by the impetus to bring “music back to the body”. Close-to-home influences on that score include Tanya Tagaq and Peaches, both of whom Doomsquad have toured with; further afield, Peter Gabriel, Diamanda Galás, Genesis P-Orridge and Underworld numbered among inspirations. Meanwhile, as the trio’s creative process took them from a lakeside cabin to a studio in Toronto, they benefited from the input of kindred spirits such as Ejji Smith, whose virtuoso guitar-shredding propels ‘Let It Go’. Israeli jazz composer Itamar Erez adds watery synths to ‘Emma’, while a key studio collaborator was producer/artist Sandro Perri, whose credits include Barzin.


                                        FORMAT INFORMATION

                                        Coloured LP Info: Clear vinyl.

                                        Coloured LP includes MP3 Download Code.

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                                        Cover of Nature EP by Modern Nature.

                                        Modern Nature

                                        Nature EP

                                        Bella Union

                                          Modern Nature - the name taken from the title of Derek Jarman’s garden diaries - is the new project of Jack Cooper, ex of Ultimate Painting / Mazes and Will Young of Beak featuring Aaron Neveu of Woods and Sunwatchers’ Jeff Tobias on saxophone.

                                          As Jack Cooper explains: “The EP is based around a song called ‘Nature’ so ‘Supernature’ is a different perspective on the EP's title track, but taken to another conclusion. It's our most recent recording and there seems to be some sense in people hearing that first. ‘Nature’ is our take on that propulsive rhythm of A Sailor's Life-era Fairport Convention but ‘Supernature’ is something else entirely. The band is so new, it's hard to say who's in and who isn't. At the moment it's myself and Will Young (Beak) with Aaron Neveu on drums (Woods/Herbcraft) Rupert Gillett on cello and then Jeff Tobias on saxophone (Sunwatchers). The band started as a vehicle for a wider project that Will and I spent the year putting together so it feels very exciting to be an actual band now. Every song we record or musician we gain, another door seems to open on a route that's worth pursuing.”

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                                          Cover of Colours. Reflect. Time. Loss. by Maps.

                                          Maps

                                          Colours. Reflect. Time. Loss.

                                          Mute

                                            ‘Colours. Reflect. Time. Loss.’ is a career-defining, ambitious album that sees the bedroom producer step out of the bedroom with his most collaborative project to date, including work with classical ensemble The Echo Collective, percussionists and guest vocalists from across the world.

                                            These stunning, immersive and impressionistic songs, scored and produced by Maps himself, are inspired by an orchestral approach and by the rolling Northamptonshire countryside beyond the window of his studio, which provides peace, isolation and inspiration.

                                            “I wanted to push everything to the limit with this record, and explore new territory for Maps. The orchestral instrumentation and addition of other musicians and singers played a huge part in finding the purer and more human emotion I was searching for. I learnt the violin as I was growing up, so I’m glad it finally came in useful!” (Maps)

                                            Three years in the making, ‘Colours. Reflect. Time. Loss.’ is informed by the richness of life experience. It is an album he could only have made now and one that represents a creative reinvention for Maps.


                                            FORMAT INFORMATION

                                            Coloured LP Info: White vinyl.

                                            Coloured LP includes MP3 Download Code.

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                                            Cover of Seeing Other People by Foxygen.

                                            Foxygen

                                            Seeing Other People

                                            Jagjaguwar

                                              Seeing Other People is curiously positioned as Foxygen’s most recent last-ever album. With every album the band dies; with every album the band is reborn. But unlike the last-ever Foxygen albums before it, this one seems to have a self-effacing bittersweetness to it that signifies some sort of passing; some sort of white flag. But it SOUNDS in no way like a band giving up. It has experiments in tone and genre the likes of which we’ve not heard on a Foxygen record since….Starpower?; since 21st Century?; since Take the Kids??? You don’t need our hot take on this thing

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Indies exclusive limited deluxe gatefold edition, pink vinyl.

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                                              Cover of House On The Edge Of The Park - OST by Riz Ortolani.

                                              Riz Ortolani

                                              House On The Edge Of The Park - OST

                                              Death Waltz

                                                Ruggero Deodato’s House On The Edge Of The Park is obviously inspired by Last House On The Left (even down to stealing Last House star David Hess), the films a notorious 1980’s Italian Horror movie and was banned in several countries including the UK. It’s vicious and nasty, revelling in it’s own depravity. The score by Maestro Riz Ortolaniis is the complete opposite, side 1 is bright and airy featuring the absolute stole cold disco classic ‘Do It To Me’ as well as the beautiful melody of ‘Sweetly’ featuring vocals by Diana Corsini, whilst Side 2 features the wonderful mellow track ‘Love Sequence’ as well as the more ominous ‘Terror Sequence’. 

                                                FORMAT INFORMATION

                                                Coloured LP Info: Limited red vinyl.

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                                                Cover of Glad To Be Sad by DMX Krew.

                                                DMX Krew

                                                Glad To Be Sad

                                                Glad To Be Sad

                                                  A long player of new music from DMX Krew is always a welcome sight and sound, and Hypercolour continue to strengthen their association with the seasoned British producer, with his third album for the label, ‘Glad To Be Sad’.

                                                  A consistent player in the field of electronic music, DMX Krew has been releasing more goodies on labels like Super Rhythm Trax, Libertine, and his very own Breakin’ Records since 2017’s last Hypercolour album, ‘Strange Directions’.

                                                  Those familiar with the catalogue of DMX Krew (all 22 albums and countless singles and remixes) can expect the usual collection of first class electronic funk and modular melodies, but for the uninitiated, ‘Glad To Be Sad’ covers a wide and colourful palette of rhythm and sound, abundant on the bass and with a heavy dose of futurism in its waves of glorious synth-work and deadly drum machine rhythms.


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                                                  Cover of This Is How You Smile by Helado Negro.

                                                  Helado Negro

                                                  This Is How You Smile

                                                  RVNG

                                                    Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura – seen, felt, emitted – on his sixth album and second for RVNG Intl. Helado

                                                    Negro’s 2016 album Private Energy, re-released as Private Energy (Expanded) in 2017, is an urgent affirmation of self-love and solidarity driven by Lange’s personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist’s visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like “Young, Latin and Proud” and “It’s My Brown Skin” aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.

                                                    This Is How You Smile’s opener “Please Won’t Please,” a call back to Private Energy, finds vitality in turning the privacy dial further inward. Setting the scene with a spare drumbeat that moves the music forward in a more maligned than militant march, Lange’s voice tenderly permits himself weariness: “We light ourselves on fire, just to see if anyone believes.” Something must be reserved, “will anyone rescue what’s left of me.” Diving into glimmering spirals, the remainder of the album takes leave of the broader “we” and mines intimate pairings - siblings, parent / child relationships, partnership, and old friends. The story of This Is How You Smile includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in “Seen My Aura.” The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of “Imagining What to Do,” and loving partners deciding to make each other smile, while waiting for the sun to return.

                                                    This Is How You Smile derives from Jamaica Kincaid’s “Girl,” a story she wrote in the form of a mother’s sole, complicated, but loving voice, speaking a “How to” litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.

                                                    Contemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of “Running,” seem to retrace the cyclical path of pop’s familiar obsessions, addressing the unrequited, fickle, or feared lover, “I feel you in my mind, all the time… you got me running, running…” Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one’s own, even when we diverge, “I see you in my hands… just like you.” The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear. Lange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In “Fantasma Vaga,” one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear. This Is How You Smile invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are. The album will be released across various formats on March 9, 2019, with Helado Negro ever present on stages around the world in support.


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                                                    Cover of Nick Waterhouse by Nick Waterhouse.

                                                    Nick Waterhouse

                                                    Nick Waterhouse

                                                    Innovative Leisure

                                                      Nick Waterhouse returns with a new self-titled album: a true powerhouse of a record filled with his distinct California surf-rock infused swaggering soul. The songs are personal, intimate, and direct. Brisk, self-contained and catchy as hell, producer Paul Butler (Michael Kiwanuka, Devendra Banhart) has helped to distill the ‘Waterhouse Sound’ to deliver a rich, raw, brawny, muscular album that’s heavier and more confrontational than anything Nick has made before, yet malleable enough for listeners to suffuse their own life stories into the mix.


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                                                      Cover of Sky Blue by Townes Van Zandt.

                                                      Townes Van Zandt

                                                      Sky Blue

                                                      TVZ / Fat Possum

                                                        Sky Blue, a collection of unreleased songs by one of the most celebrated songwriters of the twentieth century, is a time capsule that Townes Van Zandt created forty-six years ago, and we’re only now just unearthing and opening it to find the treasures inside. Scheduled for release by TVZ Records and Fat Possum Records on March 7, 2019—which would have been his 75th birthday—this album shows the artist working out some of his most iconic songs in an intimate, comfortable setting with one of his lifelong confidantes. - Unreleased acoustic recordings from 46 years ago - Two new songs never before heard - Being released on Townes Van Zandt's 75th birthday - Available in a gatefold vinyl - Liner notes from John Lomax III, Townes Van Zandt's former manager.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Indies exclusive sky blue vinyl.

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                                                        Cover of Wahala Wahala by K.O.G & The Zongo Brigade.

                                                        K.O.G & The Zongo Brigade

                                                        Wahala Wahala

                                                        Heavenly Sweetness

                                                          Under the guidance of the outrageously talented Ghanaian force of nature Kweku Sackey, aka K.O.G, and the whirlwind of energy that is Jamaican rapper Franz Von, the Zongo Brigade deliver infectious, high-energy West African grooves via Sheffield, drawing on Afrobeat, soul, funk, rock, hip hop and reggae which has fast gained recognition in London and all over the UK.
                                                          K.O.G’s signature mix of high-energy songs, raps, operatic vocal effects, along with the hard-hitting patois raps from the spirited Franz Von and a dedicated band of serious musical badmen, has led the band to perform on some of the biggest stages including Glastonbury, Reading and Leeds Festivals and numerous clubs and venues around Europe.

                                                          Deeply rooted in stories from Africa, the album draws on love, peace and social issues. K.O.G & the Zongo Brigade’s motto “Unity in Diversity” stems from Kweku’s African origins and also embraces the eclectic mix of nationalities which make up the band.

                                                          With a backdrop of unmistakeable African rhythms that include electric brass, thunderous percussion and sharp-edge guitar, ‘Wahala Wahala’ takes possession of the body as the words excite the mind. Racism, rejection, inequality, exile - the subject matter is always serious but the delivery irresistibly upbeat and rhythmic, guaranteed to get the feet moving because in every pain, there is also joy.

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                                                          Cover of Bahir by Dexter Story.

                                                          Dexter Story

                                                          Bahir

                                                          Soundway

                                                            Dexter Story is an artistic spirit in the truest sense of the phrase. From his work as a multi-instrumentalist for acts like the Sa-Ra Creative Partners, to his management role with Snoop Dogg and his turn producing Dayme Arocena’s 2017 album Cubafonia, Story understands the business from every conceivable angle. But over the past four years, Story has experienced a rebirth, a realignment of focus towards his own musical vision and story.

                                                            Initially inspired by the music and cultures pervasive throughout the Horn of Africa, Story translated his experiences into the album Wondem, followed closely by the single Wejene Aola featuring jazz luminary Kamasi Washington, both on Soundway Records. If Wondem was a brief glance into Story’s new creative vision, Bahir is a pinpoint refinement of that purpose.

                                                            On Bahir, he melds his world into the one he fell in love with so strongly while in Africa. One way in which he’s done so is by incorporating musicians from both sides of this coin. LA luminaries are featured throughout, as are African contemporaries he encountered throughout his travels.

                                                            Sudan Archives gives a show-stealing vocal performance on “Gold”, while the Ethiopian producer Endeguena Mulu adds impenetrable and psychedelic texture to the album’s title track.

                                                            So Bahir finds the polymath musician not stuck between two worlds, but as a member of both. We get Ethiopian jazz tonalities, Tuareg grooves, ekista dance rhythms, Afro-funk, Somalian soul and forays into more contemporary jazz rhythms, too. Angelenos like Miguel Atwood-Ferguson and Josef Leimberg give the record its backbone, while African artists like the Ethiopian singer Hamelmal Abate give Bahir its glimmer and shine.

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                                                            Cover of Estudando O Samba by Tom Zé.

                                                            Tom Zé

                                                            Estudando O Samba

                                                            Mr Bongo

                                                              'Estudando O Samba' is an incredibly unique concept album from the one and only Tom Ze, originally released by Continental Brazil in 1976 - a tough one to find at a good price in its original form now. ‘Estudando do Samba’ (or ‘Studying The Samba’) is a post-Tropicalia studio experimentation laiden with layers of hypnotic percussion, effects & samples that deconstructs the ‘samba’ form. Recorded during what was arguably his most creative period. David Byrne found the record in Rio in the late 90’s and included several songs on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was not recording or touring much; playing low-key shows in Sao Paulo and contemplating a move back to Irara to work at a service station owned by one of his cousins. Byrne’s project helped to reignite his career and he hasn’t looked back since.

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                                                              Cover of Chris Cohen by Chris Cohen.

                                                              Chris Cohen

                                                              Chris Cohen

                                                              Captured Tracks

                                                                Chris Cohen’s songs initially sound easy. They’re tiny jewels that unfurl at a leisurely pace, but dig a little deeper and you’ll reach a melancholy core. His previous two albums — 2012’s Overgrown Path , and 2016’s As If Apart — were built from lush, blurry tracks that embedded themselves in your subconscious, like they’d always been there. Chris Cohen, his third solo album, was written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years. With the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, among others, it is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with Overgrown Path.

                                                                “My parents got divorced while I was making this record,” he says. “They were married for 53 years and my father spent most of his life in the closet, hiding both his sexual identity and various drug addictions. For me it was like being relieved of a great burden, like my life could finally begin.” It is this sense of truth and freedom that is woven into the very fabric of the record even as it grapples with complicated emotions. A core truth of the record is what at first seems like a simple idea: “I hoped that by writing about what was closest to me at the time, I might share something of myself and where I came from,” Cohen says.

                                                                Though the album is undeniably part of the framework that made up his previous two records — Chris Cohen is also a thoughtful, accomplished meditation on life and family, backed by dusky instrumentation influenced by the late evening beauty of Pat Metheny’s Falcon and the Snowman soundtrack, and Thomas Dolby’s Golden Age of Wireless . It’s beautiful, but it’s also unflinching in its depiction of emotional turmoil.


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                                                                Cover of Nigeria 70: No Wahala: Highlife, Afro-Funk & Juju 1973-1987 by Various Artists.

                                                                Various Artists

                                                                Nigeria 70: No Wahala: Highlife, Afro-Funk & Juju 1973-1987

                                                                Strut

                                                                  As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering ‘Nigeria 70’ series for over 8 years, bringing together rare highlife, Afro-funk and juju from the ‘70s and early ‘80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

                                                                  The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby’s International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

                                                                  Elsewhere, the album explores the close connection between Nigeria and Benin’s music, most famously through Sir Victor Uwaifo, appearing here with a killer mid‘80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on ‘Obonogbozu’ (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

                                                                  Other tracks include ‘Sickness’ a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit ‘Sweet Mother’; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with ‘Psychedelic Shoes’ and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee’s Saxon Lee & The Shadows International Band.


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                                                                  Cover of DJ Kicks - Laurel Halo by Various Artists.

                                                                  Various Artists

                                                                  DJ Kicks - Laurel Halo

                                                                  K7

                                                                    The 68th edition of the DJ-Kicks mix series is another landmark one, with experimental producer Laurel Halo taking the reins. The American’s adventurous 28 track trip features seven exclusives, including two of her own plus those from Rrose, Machinewoman, FIT Siegel, Nick León and Ikonika.

                                                                    An electronic outlier, Halo hails from Ann Arbor, Michigan, but has been based in Berlin for a number of years. Landing on labels like Hyperdub, Honest Jon’s and Latency, Halo has released a body of work ranging in style, yet cohered by production and compositional tendencies that sound distinctly her own. Her studio work tends to be a multi-layered mix of the electronic and the acoustic, the organic and the synthetic. As a DJ, meanwhile, she lays down more floor focussed mixes of techno, bass and worldly drum rhythms, and her live sets are similarly visceral and direct.

                                                                    Halo’s DJ-kicks packs a lot in to just 60 minutes. It kicks off with the first of two of her own exclusives, ‘Public Art’, a tactile piano loop that sets the melodic tone of the mix in focus. Crunchy drums soon take over and begin what is a blistering ride through electro, trippy minimalism and textures that range from icy and dubby to steel plated and sharp from the likes of Red Axes, Parris and an exclusive from Rrose.

                                                                    Another exclusive, rough and ready cut from Machinewoman follows, before the mid section twists and turns on surging drum patterns, frantic industrial textures and spaced out gqom sounds from the likes of Griffit Vigo, Dario Zenker and Final Cut. This is a mix forever on the move: one minute its tightly coiled and kinetic, the next it’s loose and joyful before switching into more cerebral and insular passages that keep you intrigued.

                                                                    Fusing together so many disparate sounds and textures is no mean feat, but like everything Halo does, here they all add up to something as thrilling and edgy as it is unpredictable and compelling.


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                                                                    Cover of Vacuum EP by Floating Points.

                                                                    Floating Points

                                                                    Vacuum EP

                                                                    Eglo

                                                                    As one of the UK's most hyped and anticipated new producers, 23 year old Sam Shepherd aka Floating Points has a lot to live up to, but definitely doesn't disappoint on the truly wonderful "Vacuum EP". Main track "Vacuum Boogie" brings the warmth and emotion of 1980s Detroit techno to the table, with the addition of a boogie bassline and soaring synths. "Truly" posits jazz-funk inspiration on beatdown house grooves for more head-nodding 4/4s, and "Argonaute II" brings up the rear with a swinging amongst jazzy "Galaxy II Galaxy" style keyboard work. Having already rocked wonky-hop and UK funky and beatdown soul, the "Vacuum EP" shows Shepherd as a real renaissance man about the house. All three tracks are already getting heavy rotation on the playlists of Benji B, Mary Anne Hobbes and Gilles Peterson. Essential 2009 music!

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                                                                    Cover of Marnie - OST (Super Deluxe Edition) by Bernard Herrmann.

                                                                    Bernard Herrmann

                                                                    Marnie - OST (Super Deluxe Edition)

                                                                    Stylotone

                                                                      For the first time ever and from the original master tapes... A super deluxe soundtrack package featuring the original motion picture soundtrack to the 1964 Alfred J. Hitchcock production.

                                                                      FORMAT INFORMATION

                                                                      2xColoured LP Info: 2x 180g heavyweight, scarlet coloured vinyl + CD + 7".

                                                                      2xColoured LP includes MP3 Download Code.

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                                                                      Cover of Dream Journal by Eric Maltz.

                                                                      Eric Maltz

                                                                      Dream Journal

                                                                      Flower Myth

                                                                      Eric Maltz had a busy 2018 with the release of the first two records on his label Flower Myth. The frenetic "Pathway EP" and the dub-techno informed "Estuaries EP". The smashing vocal single "Naked Broken" followed on Possible Futures as well as a remix for Marlon Hoffstadt, a debut performance at Berlin’s Atonal Festival and to close the year, a live set at Tresor with close friend Levon Vincent whose Novel Sound label released Eric's 2017 double EP NS-17.

                                                                      2019 is now well underway and Maltz returns with another fresh look from his delectable audio wardrobe.

                                                                      A side “Dream Journal” is one for the REM cycles. A development of Maltz’ signature psychedelic deep house sound, dub sound effects jump in and out of focus, swirling arpeggios pan across the stereo field and a playful piano solo take turns at the center of the stage as a deep bass line and funk-ready drum machine hold the fort.

                                                                      On the flip, “Subliminal Virgo” is exactly that, hitting with a loose breakbeat and echoes of "Dream Journal" before settling into an unstoppably subby 4x4 throb. A synth solo hides deep under the layers as Maltz adventures into the dark chasms of thought gaps. Proving himself to be quite the unique and individual producer is our Eric, with little regard to whatever Fact and RA might be buzzing off this month, he's quietly developing his own infectious sound. Check! 


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                                                                      Cover of Floorplan V Mark Broom EP by Floorplan V Mark Broom.

                                                                      Floorplan V Mark Broom

                                                                      Floorplan V Mark Broom EP

                                                                      EPMMusic

                                                                      Clash of the Techno Titans. Floorplan (aka Robert Hood and Lyric Hood) go toe to toe with Mark Broom for an all new rumble in the ‘Jungle’. This monster split EP sees the official release of the highly sought after Mark Broom Edit of Floorplan’s huge Gospel powered house monster ’Never Grow Old’. This ultimate secret weapon for a select few DJs over the last few years is backed by the equally mega Re-plant version of ‘He Can Save You’ which gets some extra Techno power under the Hood. The EP is rounded off by Mark Broom’s double combination in the guise of ‘Jungle’. Knockout!

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                                                                      Cover of From The Vaults 1998-2018 Vol.1 by Telephones.

                                                                      Telephones

                                                                      From The Vaults 1998-2018 Vol.1

                                                                      European Carryall

                                                                      Retrospective from the exemplary Telephones' catalogue. Rescued from a humid attic on the rural island of Sotra, outside Bergen, Norway. Long presumed lost, the material featured on this first collection was originally conceived and programmed by a juvenile Mr Telephones on ancient PC-software at turn of the 90s / Y2K - at a time when the local Bergen-scene was percolating with main dogs Torske and Erot. A time when Norwegian DJs were still allowed to play Peacefrog-records on national FM radio (!!!!!!), and house, techno and disco was united under one umbrella. 20 years later, the tracks have been salvaged, exported and meticulously overdubbed, re-recorded and sound fuckin' WELL crisp mate.

                                                                      No-one exudes that coastal brightness, optimism and scent quite like Telephones. Holiday house of the highest order, you can almost smell sizzling calamari as sun spots blind your focus and a warm breeze drifts up your shorts. It's everything you need to take you away from the miserable, grey, Manchester Winter and that my friends, is why this is one of the best records you'll purchase this week! Do not sleep! 


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                                                                      Cover of Titanic Rising by Weyes Blood.

                                                                      Weyes Blood

                                                                      Titanic Rising

                                                                      Sub Pop

                                                                        The phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest, Titanic Rising, Weyes Blood, a.k.a. Natalie Mering, has designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she plays the role of melodic, sometimes melancholic, anthropologist. Tellingly, Mering classifies Titanic Rising – which was written and recorded during the first half of 2018, after three albums and years of touring - as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.” The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.” As a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans. But Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Loser Edition red vinyl.

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                                                                        Cover of Some Things by Lower Slaughter.

                                                                        Lower Slaughter

                                                                        Some Things

                                                                        Box

                                                                          With vocalist Sinead Young moving home to her native Glasgow with other members remaining in Brighton Lower Slaughter had to find a more considered approach to writing their second album. Bass player Barney Wakefield explains:

                                                                          “What Big Eyes was a collection of our songs we’d been playing live for ages which we recorded super quick in the studio. The approach to song-writing has been much different for Some Things Take Work' Essentially it’s been a ‘long-distance’ relationship, with writing taking on a different, more considered form. This gave our approach more urgency and focus though and lead us to trust our instincts as a group.”

                                                                          The result of this more considered approach is a ferocious album, one that is every part as exhilarating as the band's debut yet at times summons an extra weight and urgent delivery. While looking inwards exploring mental health, therapy revelations and healing Sinead Young's lyrics are every part introspective as well as profound social commentaries of the blockades and existential struggles many face.



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                                                                          Cover of Dopamine by RX-101.

                                                                          RX-101

                                                                          Dopamine

                                                                          Suction

                                                                          It’s been over a year since we at Suction Records last raided RX-101’s archives, but far be it from a lack of quality material. In fact, we’ve been holding back this special batch of melodic, chilled out techno and electronica for “Dopamine,” RX-101’s first full-length vinyl LP. Dopamine (suction047) is a cohesive body of work with clear references to Aphex Twin’s “Selected Ambient Works 85-92”, Polygon Window’s “Surfing on Sine Waves”, and Warp Records’ “Artificial Intelligence” series.

                                                                          For those of you new to the story, RX-101 is Dutch producer Erik Jong, who recorded hundreds of top-tier AFX/Rephlex-style tracks to cassette tape from 1997-1999, but never sent out any demos (“I didn’t think my own tracks were good enough, or feel the need to share my tracks with others. I simply wanted to make music without any pretension or specific purpose”). Suction Records discovered RX-101’s output via Erik’s Soundcloud page, which had been much discussed on Aphex Twin fan forum We Are The Music Makers, where many speculated that Erik was in fact a secret Richard D James alias. We were blown away the vast treasure trove of golden era ‘90s electronics in Erik’s archive, and began work on an ongoing campaign to release the music of RX-101.

                                                                          Although Erik was initially driven to electronic music production through the influence of house and techno, especially Detroit-area heavyweight labels Underground Resistance, Plus 8, and Transmat, it should be clear to anyone who listens that RX-101’s primary influence is the work of Richard D James. While RX-101’s output to date has been like an overview of many facets of the AFX/Rephlex catalog, from Caustic Window-style crunchy techno, to Bochum Welt-style synth pop, to Universal Indicator-style acid, the focus of Dopamine’s sound palette is firmly guided by the slow, funky and crisp 808 patterns, warm analog basslines, and evocative chords of Aphex Twin’s landmark “Selected Ambient 85-92” LP. It’s an immersive listen from start to finish - 13 tracks of armchair techno of the highest order.

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                                                                          Cover of Hypnophobia by Jacco Gardner.

                                                                          Jacco Gardner

                                                                          Hypnophobia

                                                                          Full Time Hobby

                                                                          Its meaning may refer to a fear of sleep, but with Hypnophobia, the brand new album from the baroque pop prince and Dutch producer/multi-instrumentalist, Jacco Gardner’s all set to cast a majestic and vibrant psychedelic spell that will hypnotize listeners at the point dreams and reality meet. Since unveiling his Cabinet of Curiosities in 2013 (released on the Trouble In Mind label), tastemakers and fans alike have been drawn deeper into Jacco Gardner’s fantastical fairytale kingdom.

                                                                          Hypnophobia captures a true sense of exploration, combining Gardner’s newfound love of travel with his continued passion for collecting and playing vintage instruments. The album features a Wurlitzer electric piano, waltzing alongside mellotrons, harpsichords, an Optigan, and an antique Steinway upright piano. It’s a stunning exhibit of lush instrumental tracks as well as songs that boast lyrics worthy of any great pop number. Fusing fantasy with sublime twisted reality, Hypnophobia was recorded in its entirety at Gardner’s Shadow Studio.

                                                                          For most tradition enthusiasts, it’d be all too easy to rehash the past. But that’s where Jacco Gardner’s differences lie. Playing all instruments except for drums, Hypnophobia brilliantly captures a unique artist and future-vintage aficionado operating at a far higher state of consciousness.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Repressing on yellow vinyl.

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                                                                          Cover of Nevergreen by Johannes Volk.

                                                                          Johannes Volk

                                                                          Nevergreen

                                                                          Cocoon

                                                                            Johannes Volk‘s career began in 2006 with a real bang. "The Mysteries Of Tharsis Montes" 12 inch debut from the vinyl collector was released by none other than techno virtuoso Jeff Mills on his Purpose of Mission 6277 label. A special accolade indeed, which proves Volk’s aesthetic connection to Detroit Techno, something he also demonstrates regularly on his own label Exploration Records. 

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                                                                            Cover of Saft 2 by Die Orangen.

                                                                            Die Orangen

                                                                            Saft 2

                                                                            Malka Tuti

                                                                              On the A side you can find an epic Goa leaning version of the now classic Yaranabe track (off their debut LP Zest), by non-other than Full Circle, aka Joakim and Alexis Le Tan. The proto-goa aficionados, owners of the label Crowdspacer and huge inspiration to Malka Tuti’s sound have delivered a banger like nothing else around, and its already getting mega support by the likes of Vladimir Ivkovic, Ivan Smagghe, John Talabot and many more.

                                                                              On the B-side you can find a new Die Orangen track, which is more like a Journey than track. A 15 minute journey through sonic spaces, ancient futures and alternative dimensions. 


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                                                                              Cover of Camino Del Sol (Joakim & Todd Terje Mixes) by Antena.

                                                                              Antena

                                                                              Camino Del Sol (Joakim & Todd Terje Mixes)

                                                                              Permanent Vacation

                                                                                The artist and the track ... Antena "Camino Del Sol"
                                                                                Some words for those who donʻt know Antenaʻs album "Camino Del Sol"; itʻs an electro-samba classic back from 1983, including several tracks produced by John Foxx. The album inspired many of the big names in pop and dance music, such as Jarvis Cocker from Pulp or the Pet Shop Boys. Moreover several tracks of the album were essential material for the true cosmic sound djs back then in italy. Daniele Baldelli, Mozart and Loda didnʻt end a dj set without playing at least one track of the album, and the track "Camino Del Sol" was one of the biggest hits there. Shivery electric this is.

                                                                                the remixes ... Joakim and Todd Terje
                                                                                French electro master and head of Tigersushi Joakim turns the original into a deep and very tense electro-house track, that should burn down any dancefloor. He uses 100% the chords and harmonies of the original plus bits of the vocals in the beginning and in the break. This is pure chordal magic or quality prime time material we would say, you wonʻt regret playing this tune in your set :)
                                                                                Osloʻs wonderboy Todd Terje, whose recent hit „Eurodans“ and re-edits rule the cosmic -/ nu-disco world, comes along with a wonderful extended samba-electro-disco version, that stays closer to the original. Nonetheless this rework builds up top class with its ever twisting bassline. This is sth for all the DJ Harvey diggers out there.



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                                                                                Cover of Beam Me Up - Inc. The Loving Hand, Jacques Renault & Gavin Russom Remixes by Midnight Magic.

                                                                                Midnight Magic

                                                                                Beam Me Up - Inc. The Loving Hand, Jacques Renault & Gavin Russom Remixes

                                                                                Permanent Vacation

                                                                                  When Midnight Magic popped up on Tim Sweeney’s Beats In Space ‘Best of 2009’ they really should’ve had a record out. They also should’ve had something available for download when they appeared on a recent Best of Myspace U.K. And it probably would’ve been a good idea to have something in the shops when Patrick Adams of Waves at Night told his readers that Midnight Magic was “going to be a very hot prospect for ’10.” But they didn’t. Not the best idea. No: not the best idea at all. The best idea was for them to release their first single, ‘Beam Me Up,’ on Permanent Vacation Records this summer—And that wasn’t even their idea! We have to thank the Germans for finally putting an end to the madness. Midnight Magic appears on stage as Tiffany Roth, Morgan Wiley, Carter Yasutake, W. Andrew Raposo, Max Goldman, Nick Roseboro, Caito Sanchez, Jason Disu and Andrew Frawley. They are servants of a secret fire—a psychedelic-soul army inspired by electro, funk, and disco from all around the world. You may recognize some of them from when they played in ‘Hercules & Love Affair’ or from the myriad of DFA Records releases on which they are featured.

                                                                                  Based out of an abandoned Jazz factory in Northern Brooklyn, Midnight Magic would do well to remind you of their forthcoming release on Permanent Vacation featuring remixes by Gavin Russom, Jacques Renault, and the enigmatic Tim Goldsworthy (known to the night creatures as The Loving Hand). But Midnight Magic can’t do that because they are currently scoring a Dario Argento film on the moon. Apparently, there is very good boogie up there.


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                                                                                  Cover of Heaven & Earth by Fort Romeau.

                                                                                  Fort Romeau

                                                                                  Heaven & Earth

                                                                                  Permanent Vacation

                                                                                    Fort Romeau follows his recent release on Ghostly International and his BBC Radio 1 Essential Mix with four new psychedelic house cuts on Munich’s Permanent Vacation.

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                                                                                    Cover of Full Pupp Splits 004 by Various Artists.

                                                                                    Various Artists

                                                                                    Full Pupp Splits 004

                                                                                    Full Pupp Splits

                                                                                      Homegrown talent from the beautiful inland town of Hamar, surrounded by the beautiful Furuberget and lake Mjøsa. First collab with these former Skwee-stars on Full Pupp Splits
                                                                                      Prins Thomas, 25.2019


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                                                                                      Cover of Planet Ultra by Ultra (Orlando Voorn).

                                                                                      Ultra (Orlando Voorn)

                                                                                      Planet Ultra

                                                                                      Multiplex

                                                                                      In 1997 legendary producer Orlando Voorn delivered two tracks for the Get Lost and Past-Present+Future compilations, as well as the idea of a full length album for his Ultra moniker. This was completed in 1998 shortly before the initial shutdown of Multiplex. Some tracks were scattered onto other releases, but this Planet Ultra EP is compiled of five previously unreleased compositions from the Multiplex album of the same name, plus the Barwork track - finally on vinyl after more than twenty years.

                                                                                      DJing since at the age of 12, he won the Dutch DMC championships in ‘86. Going on to produce a multitude of club bangers since the early 90’s. Spanning many genres, his short lived Ultra alias was reserved for a deep electro vibe.

                                                                                      On ice for two decade these classic electro tracks reference the early UK breakbeat of the 90’s as well as the obvious sci-fi connection. To that effect we kick off with "Teflon" and "Plasma", followed by the funky "In The Galaxy" which adds a touch of Herbie Hancock. On the flip side "Ultra Light" evolves to an all-encompassing, atmospheric trip, before the deep "Barwork" and finally "Open".

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                                                                                      Cover of Presente Max Rambhojan by Max Rambhojan.

                                                                                      Max Rambhojan

                                                                                      Presente Max Rambhojan

                                                                                      Hot Mule & Secousse

                                                                                      Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ‘’Tou’t Jou Pa Min’m". Max Rambhojan, the local singer responsible for this monster tune, has arrived.

                                                                                      In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza… In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his “Tou’t Jou Pa Min’m” anthem to great effect.

                                                                                      Reducing Max Rambhojan to a zouk artist would be a mistake. He’s first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: “Cecilia” and “On Jou Matin”, both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.

                                                                                      In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.

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                                                                                      Cover of ABC by Gabe Knox.

                                                                                      Gabe Knox

                                                                                      ABC

                                                                                      Polytechnic Youth

                                                                                        Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it’s hugely successful “Popcorn Lung” label compilation LP, with it’s first full length of the new year, and man… this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

                                                                                        PY often likes to quote the artist directly in it’s press releases, and this one is no exception. Gabe’s own words, more than adequately explaining the path leading to this killer set for 2019; “It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you’ll give my music a listen.

                                                                                        In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself “Instead of trying to unsuccessfully make music you think other people will like, why don’t you make something that you’d actually want to listen to for once?” I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

                                                                                        This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.”

                                                                                        This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he’d get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he’s understandably excited for this one’s release!

                                                                                        FORMAT INFORMATION

                                                                                        Ltd LP Info: Repress on black vinyl.

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                                                                                        Cover of Infection In The Sentence by Sarah Tandy.

                                                                                        Sarah Tandy

                                                                                        Infection In The Sentence

                                                                                        Jazz Re:freshed

                                                                                        A unique voice within the new UK jazz generation, 'Infection in the Sentence' is shaped by London's thriving and diverse live music scene.

                                                                                        Swiftly rising to become one of the most in-demand players of her generation, Sarah Tandy has performed on keys for Jazz Jamaica, Nu Civilisation Orchestra, Maisha, Where Pathways Meet, Camilla George, Nubya Garcia, Nerija, Daniel Casimir, Binker Golding, Clark Tracey and many more. She is also a member of Ronnie Scotts House Band, the W3 Collective.

                                                                                        On 'Infection in the Sentence', Tandy's technical virtuosity showcases a fearless approach to her own individual brand of piano-led jazz. "The music developed gradually through many years playing on London's underground music scene... In the album I'm seeking to find a continuum between the jazz music which I grew up listening to, and the multi-faceted, genre-melting sounds of present day London", she says.

                                                                                        A finalist in BBC Young Musician of the Year, she also held a residency at Servant Jazz Quarters in Dalston where she met band members Femi Koleoso (Ezra Collective, Jorja Smith), Mutale Chashi (Kokoroko, Jorga Smith), and Binker Golding (Binker & Moses), who were pivotal to her development. The inimitable Sheila Maurice-Grey plays trumpet in the band.

                                                                                        She's performed at Love Supreme, Berlin Jazz Festival, and twice with her her trio at the Ronnie Scotts International Piano Trio Festival supporting Robert Glasper.

                                                                                        In an earlier incarnation, she has also appeared as a classical soloist with the BBC Symphony Orchestra. In 2019, Tandy will be one of many jazz re:freshed artists to appear at SXSW. She will be performing songs from 'Infection in the Sentence' at the album launch at Ronnie Scotts, London on the 4thMarch.




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                                                                                        Cover of Sasami by Sasami.

                                                                                        Sasami

                                                                                        Sasami

                                                                                        Domino

                                                                                          Los Angeles-based artist SASAMI announces her self-titled debut album.

                                                                                          If you’ve ever drafted an overly long text to someone and decided against sending it, then you'll probably hear something of yourself in SASAMI. Los Angeles based songwriter and multiinstrumentalist Sasami Ashworth wrote the album’s ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr, tracking the thrills, disappointments and non-starters of a year spent newly single and on the road.

                                                                                          With featured artists Dustin Payseur (Beach Fossils), Devendra Banhart and Soko, this is a slice of 90s distorted guitar pop wonderment you won’t want to miss.

                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Indies exclusive red vinyl.

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                                                                                          Cover of Future Perfect, Present Tense by Ten Fé.

                                                                                          Ten Fé

                                                                                          Future Perfect, Present Tense

                                                                                          Some Kinda Love

                                                                                            ‘Future Perfect, Present Tense’, the sophomore album from Ten Fé via Some Kinda Love / [PIAS], is a poignant, uplifting meditation on everything that’s brought the band to this point and all they’ve left behind in getting here.

                                                                                            The pair holed up in a derelict office block in Walthamstow resolving to write a simpler sort of song that would connect them to the songbook of their days busking on the London Underground. Without losing the infectious pop of their debut, the songs off ‘Future Perfect, Present Tense’ seem to come from a deeper place with the two songwriters pushing themselves to be more vulnerable and honest. The Stones and Orbison influences can be heard woven into ‘Caught On The Inside’, Springsteen and The Cure into ‘No Night Lasts Forever’ and the deeply romantic, blissed-out Americana of their debut has been honed further.

                                                                                            Recorded in Oslo as a band with Rob Shipley, Johnny Drain and Alex Hammond - the friends with whom they had toured the first album - this album showcases the new sound. As heard in the first offerings, ‘Won’t Happen’ and ‘Not Tonight’, the band have matured and captured a more close-knit, lush sound of five people playing together in a room. Intricate CSNY-influenced four-part harmonies that were honed on the road fuse with the energy they captured in their live shows

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                                                                                            Cover of Sophisticated Beggar by Roy Harper.

                                                                                            Roy Harper

                                                                                            Sophisticated Beggar

                                                                                            Science Friction

                                                                                              ‘Sophisticated Beggar’ was originally released 1966.

                                                                                              Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.

                                                                                              All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.

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                                                                                              Cover of Folkjokeopus by Roy Harper.

                                                                                              Roy Harper

                                                                                              Folkjokeopus

                                                                                              Science Friction

                                                                                                ‘Folkjokeopus’ was originally released 1969 and produced by Shel Talmy.  

                                                                                                Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.

                                                                                                All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.

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                                                                                                Cover of 1984 (Jugula) by Roy Harper.

                                                                                                Roy Harper

                                                                                                1984 (Jugula)

                                                                                                Science Friction

                                                                                                  Featuring Jimmy Page, ‘Jugula’ was originally released in 1985 and reissued as ‘1984 (Jugula)’.

                                                                                                  Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.

                                                                                                  All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.

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                                                                                                  Cover of Body Of Work by Nitzer Ebb.

                                                                                                  Nitzer Ebb

                                                                                                  Body Of Work

                                                                                                  Mute

                                                                                                    “Once overlooked, recent years have seen dancefloors from Hull to Berlin’s Berghain shake to ‘Join In The Chant’ and ‘Murderous’ as the likes of Helena Hauff, Objekt, Perc and Optimo’s JD Twitch have used the brutal functionality of the Essex group’s pop to juddering effect.” - Luke Turner, The Guardian

                                                                                                    Nitzer Ebb and Mute present ‘Body Of Work’, a compilation originally released in 2006, now available for the first time on vinyl as a 4LP set pressed on coloured vinyl (two red discs / two white) with digital download code.

                                                                                                    Recently named one of the “most influential artists in music today” by the Guardian in 2018, the band recently made a return to live performance with the original line up of Bon Harris, Douglas McCarthy, David Gooday and Simon Granger, performing to sold out shows in London and Berlin at the end of last year. The band have announced several dates for 2019, in Germany, Belgium and the Infest festival in the UK.

                                                                                                    Nitzer Ebb began in Chelmsford, Essex in 1982, caught the ear of PWL producer Phil Harding in 1985 and soon after recorded two killer tracks: ‘Let Your Body Learn’ and ‘Warsaw Ghetto’. They came to the attention of Daniel Miller and recorded the classic proto-Balearic techno album ‘That Total Age’ (Mute, 1987), featuring classic tracks ‘Murderous’, ‘Join In The Chant’ and ‘Let Your Body Learn’. The album was followed by four more towering sonic and design classics ‘Belief’, ‘Showtime’, ‘Ebbhead’ and ‘Big Hit’.

                                                                                                    Nitzer Ebb went on to sell over 100,000 records in the States alone, touring with Depeche Mode and influence pioneering DJs and producers such as Richie Hawtin, Darren Emerson, Sven Väth, Helena Hauff, Objekt, DJ Hell, Tom Stephan and Danny Tenaglia as well as bands such as Smashing Pumpkins and Nine Inch Nails. They split in 1995, performing rarely after that date and in 2010 released the album ‘Industrial Complex’.

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                                                                                                    Cover of Dear Hamlyn by Luluc.

                                                                                                    Luluc

                                                                                                    Dear Hamlyn

                                                                                                    Sub Pop

                                                                                                      Luluc released their debut album, Dear Hamlyn, in 2008; the songs were written following the death of Randell's father. Dear Hamlyn eventually gained a large group of influential admirers. Peter Blackstock co-founder of No Depression Magazine, wrote of the album, "The most beautiful album I've heard in ten years." In 2011, Nick Drake's producer, Joe Boyd, also taken by Dear Hamlyn, invited Luluc to feature in his Nick Drake tribute tour. They contributed the tracks "Things Behind the Sun" and "Fly" to the live tribute album, Way to Blue: The Songs of Nick Drake in 2013. Luluc went on to sign with Sub Pop Records and release the critically acclaimed albums Passerby (2014) and Sculptor (2018). This edition of Dear Hamlyn is the first time it has been available on vinyl.

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Loser Edition pearlescent vinyl.

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                                                                                                      Cover of Be Content by Indoor Pets.

                                                                                                      Indoor Pets

                                                                                                      Be Content

                                                                                                      Wichita

                                                                                                        Indoor Pets (formerly known as Get Inuit) formed straight after leaving school in Sittingbourne, Kent, it wasn’t long before their effortless songs were attracting attention, with one of them making Record Of The Week on BBC Introducing and within two weeks Huw Stephens had picked up on the track.

                                                                                                        For the next few years Indoor Pets wrote and gigged incessantly, building up a batch of killer tunes and a devoted fanbase across the country. They did, and still do, everything themselves. From making the artwork to organising their own tours on the road, producing music, building their own stage monitoring system and even running their own finances (Simpson: “if anyone wants to spend any money they have to ask me,”). It’s a fiercely DIY ethic born less from punk principle as it was from necessity. “It was either do it yourself or don’t have it done,” notes Glass, “and we decided to do it ourselves.”

                                                                                                        Signing to Wichita Recordings, the band set about recording their debut album, a record seemingly full of a bottomless pool of great tunes. Familiar feelings of not fitting in or wanting to play the hand life’s dealt you are delivered with self-deprecating wit and Glass’ trademark use of double-bluffing word play. Think Rivers Cuomo and a pre-sandpit Brian Wilson bunking off school to play records and snigger at the cool kids. They’re smart, life-affirming and all contained within a thumping primary-coloured pop wallop.


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                                                                                                        Cover of Weezer (Teal Album) by Weezer.

                                                                                                        Weezer

                                                                                                        Weezer (Teal Album)

                                                                                                        Atlantic

                                                                                                          Throughout a sold out arena tour in summer 2018, Weezer began working covers into their set, ranging from “Take On Me” by a-ha to “Happy Together” by The Turtles, in addition to their massive cover of “Africa” by Toto, which became a viral and radio sensation upon its release earlier that year. Given the tremendous response to these songs at the shows, the band was inspired to put together a covers album -- and thus WEEZER (THE TEAL ALBUM) WAS BORN!

                                                                                                          Weezer (The Teal Album) precedes the band’s forthcoming new album of original Weezer songs, Weezer (The Black Album), which will be released on March 1, 2019. Weezer (The Black Album) was produced by TV On The Radio’s Dave Sitek, with whom the band worked for the first time. The album’s songs were entirely written on piano by frontman Rivers Cuomo for the first time in Weezer history, creating some of the most satisfyingly awesome songs in the entire hits-filled Weezer catalogue. With band members switching up instruments in the studio, and choruses filtered through Sitek’s own encyclopedic musical references of everything from Gorillaz to Can to Pink Floyd, Weezer (The Black Album) is the bold next step in the winning streak of acclaimed albums they’ve released since 2014. The album’s current song, “Can’t Knock The Hustle,” recently became the band’s sixteenth Top Ten single at Alternative Radio. 


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                                                                                                          Cover of The Hardest Way To Make An Easy Living by The Streets.

                                                                                                          The Streets

                                                                                                          The Hardest Way To Make An Easy Living

                                                                                                          Rhino

                                                                                                            The Streets is pleased to announce the reissue of his 2006 album which will be its first re-pressing since 2006 on 2 heavy weight vinyl disks. This is The Streets third album following his early critical reception and features hit tracks such as “War of the Sexes” and “Never Went To Church”. The artist continues to explore his own narrative and experiences through tracks such as Fake Streets Hats", whilst his lyricism and poetic timing is acclaimed. 

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                                                                                                            Cover of You Can't Steal My Joy by Ezra Collective.

                                                                                                            Ezra Collective

                                                                                                            You Can't Steal My Joy

                                                                                                            Enter The Jungle

                                                                                                              London five-piece Ezra Collective announce their debut album. Can't Steal My Joy is due April 26th, and marks the ensemble's return following the success of their genrebending 2017 EP Juan Pablo: The Philosopher.

                                                                                                              Ezra Collective’s incredible musicianship and spirited, inclusive approach to music - which draws on afrobeat, hip-hop, grime and more - has seen them break out beyond the burgeoning UK jazz scene. Their 2017 EP, Juan Pablo: The Philosopher, won ‘Best Jazz Album’ at Gilles Peterson’s Worldwide Awards and the band picked up ‘Best UK Jazz Act’ and ‘Live Experience Of The Year’ at the 2018 Jazz FM Awards. The five young Londoners played Quincey Jones’ birthday party and recently completed a mosh-pit-filled, sold out UK tour (culminating in a packed out 2,400 capacity hometown show), before headlining Winter JazzFest in New York. Ezra Collective’s forthcoming gigs include more US dates, SXSW, plus All Point East festival.

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Indies exclusive white vinyl.

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                                                                                                              Cover of Other Aspects, Live At The Royal Festival Hall by Paul Weller.

                                                                                                              Paul Weller

                                                                                                              Other Aspects, Live At The Royal Festival Hall

                                                                                                              Parlophone

                                                                                                                In October 2018, Paul Weller performed two extraordinary concerts at The Royal Festival Hall with an orchestra. The second of these shows was recorded and filmed, and now sees the light of day as a superb live album and DVD.

                                                                                                                “Other Aspects, Live At The Royal Festival Hall” features an eclectic 25 track career-spanning set, including classics from Paul’s rich back catalogue and songs from last year’s no. 2 album, the gorgeous “True Meanings”

                                                                                                                The track-listing includes a radical re-working of The Jam’s “Private Hell” from their 1979 LP “Setting Sons” and a brilliantly realised version of “Boy About Town”. The Style Council get a welcome look-in too with “Have You Ever Had It Blue” and “A Man Of Great Promise” and Paul’s subsequent solo career is well represented with the inclusion of “Wild Wood” and “You Do Something To Me” amongst others

                                                                                                                Other firm solo favourites such as “You Do Something To Me” and “Long Long Road” fit seamlessly into the set

                                                                                                                The DVD includes audio mixed in PCM Stereo and DTS 5.1 surround sound and features a behind-the-scenes mini-documentary with rehearsal footage and interviews


                                                                                                                FORMAT INFORMATION

                                                                                                                3xDeluxe LP Info: Vinyl/DVD set – Triple heavyweight black vinyl LPs, housed in a 6-panel ‘tri-fold’ sleeve with a download card.

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                                                                                                                Cover of Dead Man: A Film By Jim Jarmusch (Music From Motion Picture) by Neil Young.

                                                                                                                Neil Young

                                                                                                                Dead Man: A Film By Jim Jarmusch (Music From Motion Picture)

                                                                                                                Vapor Records

                                                                                                                  Re-release of the classic Neil Young album, Dead Man – A Film by Jim Jarmusch Music from and inspired by the Motion Picture.

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