Search "little simz" 3167 Items

Release: 2019 / EU – Original

Genre: Organic Grooves

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LP | 1994 | EU | Reissue (Guerssen)

The Factory

Path Through The Forest

Tiny Topsy / Jo Ann Henderson

Release: 1994 / EU – Reissue

Genre: Rock & Indie

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Sixties UK freakbeat legends get a new legit re-release of their complete available recordings and Guerssen is the proud new home for them.
A real cult freakbeat & psychedelic group, well-known for such all-time classics as “Path through the forest” and “Try a little sunshine”, Factory released only a couple of 45s (both of them obscenely rare and paid big$$$ when rarely showing up). Here we get the 4 tracks appearing on these 45s, plus a couple tracks taken from acetates (killer covers of Family’s “Second generation woman” and Fairport Convention’s “Mr. Lacey”), as well as a new mix of “Path through the forest” that includes the original, different psychedelic effects that were supposed to make it to the original release but were dropped out by the MGM label supervisor.
Remastered sound (only beware, “Second generation woman” comes from a destroyed acetate!) and with liner notes by Factory’s producer Brian Carroll.

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Just A Little Bit / Baby Please Don't Go

7" | 2019 | EU | Original (Outta Sight)

Release: 2019 / EU – Original

Genre: Organic Grooves

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LP | 2019 | EU | Original (Four Flies)

Sandro Brugnolini

Superground

27,99 €*

12" | 2019 | EU | Original (Bouquet)

Release: 2019 / EU – Original

Genre: Organic Grooves, Rock & Indie

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A n d w h a t i f t h e i n f a m o u s
UNDERGROUND and OVERGROUND
albums had a third psychedelic
chapter, still secret and unreleased
until today?
Yes, you heard correctly: this
SUPERGROUND LP is sonically akin to
the legendary pair for which composer
Sandro Brugnolini will always shine
worldwide, and ideally brings the
trilogy to a close. Composed and
recorded in two sessions between July
1969 and November 1970, the album
echoes the shocking 1969's Charles
Manson massacre, with tracks
dedicated to the villa at Cielo Drive, in
Hollywood, where Sharon Tate e Roman
Polanski lived for six months. Some
music was also used for an animated short movie signed by Pino Zac, “Radice Quadrata di 3”, a little art-film
gem about the consumer society.
The recordings have all in common the terrific line up, featuring MARC 4 members Antonello Vannucchi
(organ), Maurizio Majorana (bass), Roberto Podio (drums), along with Angelo Baroncini (guitar) replacing Carlo
Pes. An incredible groovy combo that plays a strange psychedelic rock and r’n’b with funky and prog flavor.
Another lost masterpiece from Italian golden age soundtracks finally rescued and brought back in life to see
the light of the wax for its very first time.

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Etbonz

Beyond The Cosmic Blaze

Slaves Of Sinus, RXmode, W1B0 & Tin Foil Hats

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Occasionally prodigal, but ever-prodigious, Elliot Thomas aka Etbonz weaves an 80-s/early 90's sci-fi cinema sound into a total recall of scattered memories. Childhood play with starcom and Gobots. Soaking in cult classics like Robocop, Predator, and Big Trouble in Little China on VHS. DJing in spacey laser-lit rooms draped with sound-dampening curtains.

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Transhumanism 3

12" | 2019 | EU | Original (Bass Agenda)

Little Robot EP Transparent Vinyl Edition

Release: 2019 / EU – Original

Genre: Electronic & Dance

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The Transhumanism collective was born on the dance-floor at Dave Clarke's first Whip It party at the Melkweg in Amsterdam. This is the fourth vinyl release on Bass Agenda Recordings that features the four Dutch Electro artists w1b0, RXmode, Slaves of Sinus, and TFHats. It's no surprise that the first in the series has just been repressed, and now, the third in the series keeps the pressure up with 4 brand new tracks. As always, the brief here was simple - "be yourself and do your best to kill it". All four artists have risen to the occasion - maintaining the fundamentals of their individual sounds, evolving a little in some parts, and bringing a compilation with something for every discerning DJ with an ear for cutting edge Electro.

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Amelie Lens

12" | 2019 | EU | Original (Lenske)

LP | 2019 | EU | Original (Big Scary Monsters)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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This is transparent vinyl in custom transparent sleeve. All set to push the dance floor forward Amelie Lens returns to drop her second solo release on Lenske following 2018's 'Basiel' EP. True to her reliable productions of pumping kicks,nasty acid lines and spiralling groove dynamics, energetic 4/4 winds blow fiercely across the four cuts of 'Little Robot', offering a much compelling arsenal of powerhouse techno to top the summer off in the most epic way.

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Gender Roles

Prang

24,99 €*

2LP | 2019 | EU | Original (Traum)

Release: 2019 / EU – Original

Genre: Rock & Indie, Pop

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With two much loved 7”’s, as well as countless riotous live shows already to their name, it was only a matter of time before Brighton punks, Gender Roles unleashed their debut album on the world, and now PRANG is finally here.

Capturing the frenetic energy of their live shows, the new record sees their grunge/punk sound evolving into something a little more complex. The new songs blend in a lyrical honesty and nuance but retain the angst and charm of their earlier material, to make it sound unmistakably Gender Roles and their most complete work to date.

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Philippe Cam

Rotterdam

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

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J Jazz Volume 2: Deep Modern Jazz From Japan 1969-1983

3LP | 2019 | EU | Original (BBE Music)

42,99 €*

Release: 2019 / EU – Original

Genre: Organic Grooves

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Following the sell-out success of our landmark compilation, J Jazz: deep modern jazz from Japan 1969-1984, BBE Music is thrilled to present another exploration into the very finest Japanese modern jazz.J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru-Teru Bozo by Teru Sakamoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA.The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special. J Jazz 2 is available across all formats

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Ilan Pdahtzur presents Night City Life

2LP | 2019 | EU | Original (Spacetalk)

LP | 1972 | EU | Reissue (Demon)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music. Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world. The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.
There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online. Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.
At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled. There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.

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Satisfaction Unlimited

Think Of The Children

25,99 €*

Millimetric, D.Dan, Schacke & Hadone

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Originally released in 1972 this is a rare LP originally released on Invictus, Hotwax label. This release is so obscure there is little information about them online. This is a vocal, soul classic that features the masterful title track ‘Come On Back’ and the monster club cut ‘Lets Change The Subject’ Line-up includes Lorenzo Hines (lead tenor), James Isom (second tenor), Earl Jones (baritone), and Fletcher Lee (bass). Reissued on 180gm heavyweight classic black vinyl.

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A Lot Of Chaos

12" | 2019 | EU | Original (Kaos)

LP | 2019 | EU | Original (Mello Music Group)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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2022 repress

Continuing the pursuit of making KAOS and essential label for the contemporary disc-jockey I opened the spectrum a little more with some newcomers on the label and a pioneering veteran.

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Chris Rivers

G.I.T.U.

16,19 €* 26,99 € -40%

LP | 1959 | EU | Reissue (Trunk)

Release: 2019 / EU – Original

Genre: Hip Hop

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“G.I.T.U., an acronym for Greatest In The Universe. The title encompasses the feeling this body of work for me. It’s my life experiences, my loves and losses, my stories about overcoming obstacles both external and internal, while learning to love myself and becoming the best version of me. Both as a person and as an artist I tried to push my boundaries and expand my limitations. Everyone’s world is their own, everyone has their own universe that they are in control of, this is mine. I’m the G.I.T.U.” – Chris Rivers

Since he first entered the rap game, every mention of Chris Rivers inevitably acknowledges the influence of his father, Big Pun, one of the art form’s all-time greats. It’s a gift that offered the Bronx MC the opportunity to be heard, but simultaneously a curse that elicits unfair comparisons. But with his Mello Music debut, G.I.T.U., Rivers achieves what would’ve been impossible for a lesser talent: he stakes his claim as a singular artist, one speaking for his generation, his culture, his familial heritage, and most crucially, himself.

If Rivers is unquestionably the son of the first solo Latin rapper with a platinum plaque, he has clearly evolved into his own man. G.I.T.U is the opportunity to tell his story--one that starts full of mourning and self-doubt but matures into a gripping tale of self-discovery. In bold declarative terms, he sketches a portrait of a life lived on the margins, weathering the storms of abuse, poverty, and the lingering shadow of high expectations.

There are struggles with addiction and suicidal thoughts, but Rivers transcends those demons to deliver audio dope that does his legacy proud. He raps with the jaw-dropping lyrical agility and syllable precision that you’d expect from his patrimony, but with the vulnerability and introspection that can only come from an artist who possesses a rare knowledge of self. You can hear the inheritance of his late great father, but also a synthesis and expansion upon the path trodden by Black Thought, Mos Def, and Lupe Fiasco.

The title itself doubles as a mantra: Greatest In The Universe. This is the self-affirmation that Rivers told himself in his most turbulent moments. It’s an inspirational credo that allowed him to keep going, but also operates as fuel to listeners -- particularly those seeking a refracted light from someone deeply familiar with the darkness.

The 16 tracks encompass nearly every mood. There’s the confessional “Perfect,” where Rivers declares “well, I never loved myself, but right now I’m in love with two bitches, I mean women, I mean prisons, I mean prisms.” In the course of a single sentence, he’s able to convey labyrinthine complications. There is “Trick,” where Rivers rumbles like a champion prizefighter, boasting about how his sisters taught him how to brawl, reminiscing on his early days as a “little Puerto Rican fat boy with a brain like an asteroid.” Over rope-a-dope drums, he creates an anthem built for stage-diving and chaos, delivering a pummeling series of references that run from MC Hammer to Cassius Clay to anime. It’s a modern iteration of a tunnel banger: riotous, rowdy, New York brass knuckle rap.

“Damaged Goods” finds the 25-year old lyricist questioning the differences between lust and love, dropped his guard to exhibit a relatable sensitivity. “Wolf Mode” pairs a poignant sax lick with a plea to be able protect oneself from the storms of life. It’s not about being bulletproof, but rather, to possess the strength to endure the chaos that we must face. Yet Rivers is willing to accept the challenges head-on, claiming that he’d “rather have the hard truth than a sweet lie.” While “N.A.S.A.” takes dead-aim at the traps of millennial life: too many useless contacts in your phone, the dim lies of clout, and the indelible need to find the real ones who will hold you down. There is also a flawless “Pakinamac” homage.

The emotional centerpiece of the album arrives on the heart-wrenching “Sincerely Me.” It’s a tribute to Big Pun, but one that refuses to bow down to over-sentimentality. You feel Rivers’ pain and sadness, the struggles of his family, and his frustration at being unable to have a father to turn towards for advice. It’s a votive to a dearly departed spirit, gone much too soon. But when the song fades out, Rivers is stronger than before. A prayer has been answered. It’s the fully fleshed out picture of a son who doesn’t want to eclipse the father but rather, who wants to be able to stand beside him, shoulder to shoulder, two of the greatest of their times.

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Buddy Collette Septet

Polynesia

Pata Pata (Definitive Remastered Edition)

Release: 1959 / EU – Reissue

Genre: Organic Grooves

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The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer. Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg. Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album. Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

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Miriam Makeba

2LP | 1967 | EU | Reissue (Strut)

10" | 2019 | EU | Original (Dubs Galore)

Release: 1967 / EU – Reissue

Genre: Organic Grooves

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Includes both the mono and stereo versions of the album!

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba's 'Pata Pata', her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film 'Come Back, Africa' gained international attention and staying there in exile, she quickly built her career in New York during the '60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: "I wrote 'Pata Pata' back in 1956, back in South Africa", remembered Makeba in her autobiography. "It was a fun little song and I was thinking of a dance that we do at home ("pata" means 'touch" in Zulu and Xhosa)".
The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs on the album included a version of the traditional Xhosa classic, 'Click Song Number One' ('Qongqothwane'), the atmospheric 'West Wind', later famously covered by her friend Nina Simone, and a version of Tilahun Gessesse's 'Yetentu Tizaleny' which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity.

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Muttley

Architect

Tape | 2019 | US | Original (Innovative Leisure)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Here's a little story about this release on my label Dubs Galore: "When Muttley sent me this tune I though to myself: "Wow what a nice classic from the golden Dubstep Era", so I asked him when this was released - assuming it was, and he said it never was released. I immediately signed it, knowing it's such a great and timeless tune. I asked Quasar for a remix and here we are now, Dubs Galore 005 coming in STRONG!"

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Tijuana Panthers

Carpet Denim

LP | 2019 | US | Original (Innovative Leisure)

Release: 2019 / US – Original

Genre: Rock & Indie

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The Tijuana Panthers are back and this time they’re all grown up (kind of). Combining their signature surf rock with new experimentations in sound, Carpet Denim is the culmination of nearly three years of work and the band’s subconscious evolution into deeper, more personal places.

Taking concepts that have long been percolating, this album is the musical version of a beachside, drop-top cruise -- punctuated by deeply human lyrics. Carpet Denim hits deep notes of introspective darkness with songs like “You Died,” a ballad-y jam that delves into the complex emotional wreckage of a father’s passing, and the album’s single, “Path of Totality,” about a close friend of the band’s who lost the fight against alcoholism.

These soulful forays are offset by Tijuana Panthers singular, upbeat sound, with the playful jam “Little Pampelmousse” that celebrates fatherhood and refers to Phil’s nickname for his new, beloved baby.

Then there’s “710,” a spirited coast down memory lane that embodies the band’s signature sunniness - all while reminiscing about growing up in Long Beach.

The culmination of the band’s many years on the road and making noise, Carpet Denim falls deeper into their weird and wild tendencies (there’s even a synthesizer that makes an appearance). It’s inspired by everything, from politics to the guys’ personal lives, Haruki Murakami and Twin Peaks. There’s the perfectly dissonant “TV People,” a creepy little number that combines simple guitar with a roving bass to create an abstract jam that’s hard to forget.

This album is the same garage-y Tijuana Panthers you love, but this time, they channel their unbridled energy into a moody maturation of their music. The band returned to their hometown of Long Beach, CA to record Carpet Denim at Jazzcats studio. Unlike earlier albums such as Poster and Wayne Interest - which were recorded in a flash-bang, marathon sitting, the band’s latest album was methodically assembled by Jonny Bell over multiple days. Pouring over production, Carpet Denim is a collective deep breath that weaves together years of songwriting -- all jam-packed with summertime vibes, peaks of punk rock and Tijuana Panthers’ signature oddball adventures.

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Tijuana Panthers

Carpet Denim

24,99 €*

I Just Wanna (Spend A Little Time With You)

Release: 2019 / US – Original

Genre: Rock & Indie

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Alton Edwards

12" | 2019 | EU | Original (Riot)

100 Grey Hounds Marble Vinyl Edition

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Originally released in 1981 on Streetwave and CBS, Alton Edwards' debut single "I Just Wanna (Spend Some Time With You)" is a boogie-era electrofunk classic blessed with Latin style horn stabs, super-sweet vocals and the heaviest, most squelchy synth bassline known to mankind (or womankind for that matter).
Here it gets the reissue treatment with Streetsounds' founder Morgan Khan's fine original vocal and instrumental mixes (tracks three and four) being joined by two new rubs by veteran British house producer Michael Gray. He wisely retains Edwards' killer bassline, baggy electric piano chords and razor-sharp horns, underpinning them with bustling peak-time house drums on all-action "Remix" and "Dub" variations.

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Okho

LP | 2019 | EU | Original (Radio Juicy)

17,99 €*

The Bees / Little Big Man

Release: 2019 / EU – Original

Genre: Hip Hop

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Radio Juicy proudly brings back o k h o with his new and thrilling album 100 Grey Hounds. A very close and personal journey to the core of the artist. Sharing his own tale and life path through the course of this album that in many ways is unique and distinguished from anything he previously released and anything you've heard so far on our scene. The entire album is sample less, every sound designed and recorded by o k h o himself to bring you even closer to his inner sanctum. The album tells a story and could be seen as the soundtrack for a coming of age movie. It has a very nostalgic and retro vibe while being very new at the same time.
This is why we're so happy to bring this unique album to you today. A little nudge away from what everyone is pushing nowadays and since we've been having this Summer heat wave hit us, we also thought a breath of fresh air could only be a good thing.
It comes with a very nice looking color vinyl, a marbled silver/white/black tri-color mix that will certainly impress you.

All Tracks Produced, Mixed and Mastered by o k h o
Vinyl mastering and additional mastering by sterilOne at Staub Audio Engineering, Vienna
Artwork by Alexander Dueckminor
Vinyl graphic layout by Alex Brade
Published, manufactured and distributed by Urban Waves

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On -The Sound Of On Records 1987-1989

12" | 2019 | EU | Original (Egoli)

17,99 €*

LP | 2019 | EU | Original (Timesig)

Release: 2019 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.
Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.
The Bees are probably the best known group, releasing only a few album in 1988-1989 and a handful singles that are now highly collectible. Their sound is electronic, hypnotic and highly danceable.
As is the case for Themba Wawelela is a prolific South African artist/producer who is best known under the monniker ''Little Big Man''
1 of 3 12" in a compilation of tracks from The ON label which was active in South Africa between 1987-1992, an era following the end of the apartheid regime and defining the new sound of Young Black South Africa in the early 90s

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Datach'I

Bones

21,99 €*

Port Koma / Fanfarum For Komarum

Release: 2019 / EU – Original

Genre: Organic Grooves

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Joseph Fraioli, a.k.a. Datach'i, returns with eighth album 'Bones'. Released on Venetian Snares' Timesig imprint, 'Bones' features 12 tracks of mind expanding electronica, once again recorded on his custom-built Eurorack modular system. Much like its predecessor, 'Bones' manages to make the most of the possibilities modular systems offer, whilst avoiding their many pitfalls that can often turn such music into little more than a dry academic exercise. Indeed 'Bones' is a remarkably intimate album, written and recorded in the time following his father's death, and reflects this intense period of personal change in Joseph's life. "Creating this music was a therapy of sorts," Joseph recalls. "It was almost like a close friend being there for me, and it's something that I hope others can perhaps utilize in the same way." The connection to his father is something that is reflected not just in the emotional intensity of 'Bones', but in the actual production itself. "My father and I were very close," he explains. "Whilst he was sick with cancer I bought him a guitar as he wanted to learn how to play, just to have something to do while he was getting treated. After he passed away my mother gave me the guitar to have as a sort of memory of him. I had the idea to record some sounds and music on the guitar and load it onto granular sample players on the modular synth so I could make new music from those sounds as a sort of tribute to my dad. You can hear some of those sounds on a few of the tracks here like 'Arrivals', 'Motion in the Living Room' and 'Undimension'." . Even though 'Bones' is about endings and finding closure, it also looks forward to new beginnings. "It was something very much on my mind throughout recording this album," he relates, "ends being beginnings and beginnings being the end. Cycles of time and how time works, it's all reflected throughout the album right down to how the tracks are ordered." Ranging from blissful ambience and guileless, starry eyed melodies, to intricate claustrophobic rhythms that forever sound close to collapsing in on themselves before expanding into bold new patterns, 'Bones' is the work of a producer who, twenty years on from his debut, continues to push the boundaries of electronic music.

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Koma Saxo

7" | 2019 | EU | Original (We Jazz)

12" | 2018 | EU | Original (Archive)

Release: 2019 / EU – Original

Genre: Organic Grooves

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Koma Saxo is a highly potent new five-piece produced by the visionary Berlin-based Swedish bassist-producer Petter Eldh. The lineup brings together five heavy jazz names on the Berlin–Nordics axis, including Eldh on bass, Christian Lillinger on drums and the frontline of three saxes: Otis Sandsjö, Jonas Kullhammar and Mikko Innanen. Despite the top-billing names, make no mistake: this is not just another "supergroup", but a real working band with their own sound and musical trejectory.
Eldh's vision for the Koma Saxo sound is one step ahead of what groovy avantgarde jazz could sound like in 2019, involving postproduction work with the raw material recorded in Helsinki in connection to Koma Saxo's successful debut at the We Jazz Festival. Both studio and live tapes exist side by side, and Eldh goes deep in molding the final music to be heard on the upcoming Koma Saxo releases.
The first introduction into the world of Koma Saxo comes in the form of a 7"/digital single "Port Koma / Fanfarum For Komarum". Side A presents a restlessly dubby beat track, which would be ripe for hiphop sample use. The flip launches into a joyful full-on groovy free jazz fest which is hard to resist. Think Art Ensemble of Chicago at their swingingest but add a little "Nordic Noir" dropped right into the busy streets of Berlin's Kreuzberg.

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Allan Kingpin

Stand Up For A Right

20,99 €*

LP | 2019 | EU | Reissue (Dig This Way)

Release: 2018 / EU – Original

Genre: Reggae & Dancehall

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Allan 'Ras Bombo' Kingpin's all time roots classic scorcher, better known as "Little Jimmy", it's working title during its pre-release. This release is a dubplate mix (original version here).

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Musical Breed

Save The Little Children

Good For Nuthin + The Summer EP

Release: 2019 / EU – Reissue

Genre: Organic Grooves, Reggae & Dancehall

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The album was originally released in Nigeria by Tabansi Records and recorded at Afrodisia/Decca studio in Lagos. The Lp never really saw a commerical issue and was probably pressed in very few promotional copies for Radios and Djs making the original nearly impossible to be found nowdays.
Musically it comes with some dope , slow and one-a-way digital roots riddims filled with mad synths , deep conscious lyrics and a deep bassline, it's quite unique as the two main track comes with a raw Dub which is very hard to be found on any other African Reggae albums , the last track call “If I'm To Rule The World” is a very interesting blend of Reggae and Boogie.
We have been working together with the lead singer of the band , Sharon Escco Wilson that we met personally in Lagos, to finally make the album available worldwide.
The cover have been fully restored and the Audio remastered , in the LP we'll add an insert with Lyrics , original pictures from back in the days (and a few new ones) , a newspaper article from 1990 and an extensive interview by Sharon Escco Wilson.

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The Good People

CD | 2019 | EU | Original (Below System)

Try It Out / Head Over Heels

Release: 2019 / EU – Original

Genre: Hip Hop

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The Good People are exactly that, good folks that have maintained a strong presence in Hip-Hop since the mid-naughts. Consisting of MC/DJ Emskee and MC/producer Saint, these two heads eschew the violence and misogyny of hardcore Hip-Hop but still give fans that energy and sound of classic 90s Boom Bap. While some may even group them under the conscious Hip-Hop banner, their intent is to just make the kind of music that listeners can't help but nod their heads to. The type of tunes that send b-boys into the circle without a second thought.

While this true school twosome dropped a number of well-received projects (group and solo) between 2004-2013, it wasn't until earlier this year that they released their third official group album, "Good For Nuthin". The effort showed they hadn't lost a step. In fact, it is the very definition of essential, "no frills" Hip-Hop. The LP features some of the genre's most enduring pioneers and vets, including DJ Red Alert, Large Professor, Sadat X, Lil Fame, the Cella Dwellas and more.

Now, only a little more than four months later they are back with an offering perfect for the upcoming dog days, which is appropriately titled "The Summer EP". The 6-track affair carries on tradition without sounding retro. It starts with the genuine LA vibes of "Windows Down" featuring Tash of Tha Alkaholiks, which is followed up by a braggadocios posse cut with A-F-R-O and Termanology titled "Sidewalk Barbecue." Quintessential East Coast horns and thumping drums dominate the remainder of songs, including the laid back lead single, "A Summer Night At The Symphony." The joint starts with the same narrated intro as The Juice Crew's "The Symphony," and features noted spitter John Jigg$ and his team, MXNXPXLY Family, getting busy on the mic.

Suffice it to say, this extended player will be getting enough spins in convertible rides, at BBQs, and on late night radio shows that still play the real. Push play and experience that feeling of a cold drink on a sweltering day.

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World Series

7" | 1983 | EU | Reissue (Chuwanaga)

The Silencer / Little By Little

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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Parisian label Chuwanaga curated by Clémentine & Saint-James is really proud to announce his next release: the reissue of an almost forgotten 7" by Britfunk band World Series, bringing together jazz-funk, AOR and a really funky vibe. A perfect fit for summertime.
Like a good recipe, this little beauty actually got all great ingredients: great Rhodes parts, catchy vocals, solid basslines and lovely Moog-esque synthesizer melodies. "Try It Out" brings together a classy AOR-Funk/Soul vibe with a solide funky groove. On the other side, "Head Over Heels" looks more towards proper british Jazz-Funk territories with its uptempo beat and slapped bass.
Back in the days, World Series was a local live band around North London. They used to tour a lot around early 1980’s in and around London in places like the Bull and Gate in Kentish Town, the Production Village in Cricklewood, The Cricketers at the Oval and Dingwalls in Camden. On the same circuit were bands like Cayenne, Gonzalez, Morrissey Mullen and the Breakfast Band to name a few. In 1983, they recorded a session at Woodcray Manor Studios in Berkshirand and released "Try It Out / Head Over Heels" as a 7" single, financing the pressing. They were actually delighted when one reviewer said they were a bit like Level 42 "but with decent vocals".
Thanks to the original crew, Mike Frankel (Lead Vocals/Guitar), Keith Mawson (Bass), Richard Newell (Drums & Percussion) and Andy Park (Keyboards), Chuwanaga is proud to present you this single with a great artwork from William James Thurman, including also an insert with lyrics and pictures from the band. One not to miss!

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Chuck Jackson

7" | 2019 | UK | Original (Outta Sight)

Release: 2019 / UK – Original

Genre: Organic Grooves

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LP | 2019 | Original (Six Tonnes De Chair)

Perilymph

Deux

LP | 2019 | EU | Original (For The Love Of It)

Release: 2019 / Original

Genre: Rock & Indie

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"Perilymph started a few years ago as a one man project led by Fabien de Menou, a french man living in Berlin. The first album was composed and recorded as such, Fabien recorded everything in his studio, except for the drums, which he asked his friend Fabian to record.
As other friends joined in, the band was able to turn these songs into a live show.
It's around this time that Fabien composed the songs for “Deux". Here, the process was a little different, and he was able to bounce ideas off everyone, and to try riffs and ideas as a band. The recording process was very similar to the first time though, with once again Fabian recording drums and Fabien taking care of the rest, as well as the production.
This album is a step forward in the story of the band: moving from Fabien's bedroom songs into a band of friends."

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Apollo Theo

Night Cruise

Release: 2019 / EU – Original

Genre: Organic Grooves

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After their success of their single 'Smile' which was the theme song of warner brothers movie 'High Society' and placed on different commericals this Neo-Funk duo release it´s first debut album with a lot of 80s boogie and funk tunes. Featuring cali rappers King Tee, MC Eiht, Fresh Daily, Chuuwee and vocalists Benny Sings, JATA & NEEON. The LA/Berlin based funkduo is executive produced by Shuko the man behind different production of artists like The Clipse, Lee Fields, Snoop Dogg, B-Real and many more. "It´s a fact" with Benny Sings is also exclusively available on this limited 300 Vinyl edition with 12 tracks full of good old memories from the 80s funk era with a little modern twist of hiphop and which makes 'Night Cruise' the perfect soundtrack for some city rides at midnight.

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Jambú - E Os Míticos Sons Da Amazônia

2LP | 2019 | EU | Original (Analog Africa)

31,99 €*

12" | 2018 | EU | Original (Cynic)

Release: 2019 / EU – Original

Genre: Organic Grooves

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The city of Belém, in the Northern state of Pará in Brazil, has long been a hotbed of culture and musical innovation. Enveloped by the mystical wonder of the Amazonian forest and overlooking the vastness of the Atlantic Ocean, Belém consists of a diverse culture as vibrant and broad as the Amazon itself. Amerindians, Europeans, Africans - and the myriad combinations between these people - would mingle, and ingeniously pioneer musical genres such as Carimbó, Samba-De-Cacete, Siriá, Bois-Bumbás and bambiá. Although left in the margins of history, these exotic and mysteriously different sounds would thrive in a parallel universe of their own.

I didn’t even know of the existence of that universe until an Australian DJ and producer by the name of Carlo Xavier dragged me deep into this whole new musical world. Ant it all began in Belém do Pará. Perched on a peninsula between the Bay of Guajará and the Guamá river, sculpted by water into ports, small deltas and peripheral areas, Belém had connected city dwellers with those deeper within the forest providing fertile ground for the development of a popular culture mirroring the mighty waters surrounding it. Through the continuous flow of culture, language and tradition, various rhythms were gathered here and transformed into new musical forms that were simultaneously traditional and modern.

Historically marginalized African religions like Umbanda, Candomblé and the Tambor de Mina, which had reached this side of the Atlantic through slaves from West Africa – especially from the Kingdom of Dahomey, currently the Republic of Benin – left an indelible stamp on the identity of Pará´s music. They would give birth to Lundun, Banguê and Carimbó, styles later modernised by Verequete, Orlando Pereira, Mestre Cupijó and Pinduca to great effect. The success of these pioneers would create a solid foundation for a myriad of modern bands in urban areas.

Known as the “Caribbean Port,” Belem had been receiving signal from radio stations from Colombia, Surinam, Guyana and the Caribbean islands - notably Cuba and the Dominican republic - since the 1940s. By the early 1960s, Disc jockeys breathlessly exchanged Caribbean records to add these frenetic, island sounds to liven up revelers. The competition was fierce as to who would be the first to bring unheard hits from these countries. The craze eventually reached local bands’ repertoires, and Belém’s suburbs got overtaken by merengue, leading to the creation of modern sounds such as Lambada and Guitarrada.

To reach a larger audience, the music needed to be broadcast. Radios began targeting the taste of mainstream audiences and played music known as “music for masses.” As the demand for this music grew, it led to the establishment of recording companies. Belém’s infant recording industry began when Rauland Belém Som Ltd was founded in the 1970s. It boosted a radio station, a recording studio, a music label and had a deep roster of popular artists across the carimbó, siriá, bolero and Brega genres.

Another important aspect in understanding how the musical tradition spread in Belém, are the aparelhagem sonora: the sound system culture of Pará. Beginning as simple gramophones connected to loudspeakers tied to light posts or trees, these sound systems livened up neighbourhood parties and family gatherings. The equipment evolved from amateur models into sophisticated versions, perfected over time through the wisdom of handymen. Today’s aparelhagens draw immense crowds, packing clubs with thousands of revelers in Belém’s peripheral neighbourhoods or inland towns in Pará.

The history of "Jambú e Os Míticos Sons Da Amazônia" is the history of an entire city in its full glory. With bustling night clubs providing the best sound systems and erotic live shows, gossip about the whereabouts of legendary bands, singers turned into movie stars, supreme craftiness, and the creativity of a class of musicians that didn’t hesitate to take a gamble, Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.

The music and tales found in Jambú are stories of resilience, triumph against all odds, and, most importantly, of a city in the borders of the Amazon who has always known how to throw a damn good party.

“Jambú is a plant widely used in Amazonian and Paraense cuisine. Known for having an appetitestimulating effect, it is added to various dishes and salads but is most famously one of the main ingredients in Tucupi and Tacacá, two delicacies that have been immortalized in countless Carimbó songs. Chewing the leaves of the Jambú plant will leave a strong sensation of tingling on the tongue and lips. Indigenous communities have relied upon its anaesthetic qualities for centuries as an effective remedy against toothaches and as a cure for mouth and throat infections. A decade ago, a distillery from Belém discovered the euphoric effects of the Jambú plant when combined with distilled sugarcane based spirit - known as cachaça - and created the now legendary “Cachaça de Jambú“.

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Andy Simms presents

The Shanklin Sessions

LP | 2019 | EU | Original (Long Branch)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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The Shanklin Sessions came out of the Shanklin Road studio that Andy Sims shared with one of his partners from Soft Rocks, Bobby Coulman. Acid Jan started it's life as a Jan Hammer edit that Andy was doing for one of Soft Rock's Disco Powerplay releases. There were a few parts that never made the final cut, but were too good to leave, so Andy got friend Jaime Read in to jam with the left over bits, and from that Acid Jan was born
none of the Jan's original parts made it to this finished re-incarnation). Acid Jan found it's way onto Cynic label boss Felix's USB and subsequently was played at every festival/club that Felix played for about a year. When Andy heard Felix playing it at Alfresco Festival in 2016, they decided to release it on Cynic. In search of a B side for the release, Andy dug out the other DAT's from the session Acid Jan was recorded at, and found Sitars over Shanklin, a suitably oddball track to grace the other side. A little piece of Chicago via India recorded in Brighton.

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Siamese

Super Human

30,99 €*

Release: 2019 / EU – Original

Genre: Rock & Indie

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7" | 2019 | EU | Original (Tramp)

Los Keys

Mister T.C.B.

LP | 2019 | EU | Original (Damaged Goods)

Release: 2019 / EU – Original

Genre: Organic Grooves

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Little known funky-soul two sider byLos Keys. It was first presented to the world when it was included on the sixth volume in ourMovementsseries. We finally decided to put it out on a limited 45RPM single, still our prefered format!

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The Galileo 7

There Is Only Now

Release: 2019 / EU – Original

Genre: Rock & Indie

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Brand new album from Medway's finest psych-beat combo! Heritage can be a harsh mistress. Ex-This, formerly of That. Past acclaim - particularly when it's attached to some of the most visceral and elemental rock 'n' roll of one's generation - can become both a help and a hindrance; impossible to shake off but crucial to continued acceptance in the fickle world of pop music. Not that this is any concern of The Galileo 7 of course. As the title of their sixth album proudly proclaims, There Is Only Now, and this record is nothing if not Now! From humble beginnings 10 years ago as a DIY outlet for Allan Crockford's songwriting ambitions (he was rarely afforded such luxuries as bass-wielding anchorman of The Prisoners, JTQ, Prime Movers, Solarflares et al) The Galileo 7 has evolved into a powerhouse live act delivering the kind of lysergically-inclined technicolour garage-rock rarely witnessed these days; one born of experience, exploration and an enjoyment of one's own craft. Following a period of fluctuation, the present line-up stabilised around Crockford (vocals, guitar), Paul Moss (bass, vocals), Viv Bonsels (keyboard, vocals) and the busiest man in garage, Matthew 'Mole' Lambert (drums, vocals) - yep, there are a lot of vocals in the mix here and the record is all the brighter for it. The G7's long-players since 2016's storming "live in the studio" set Live-O-Graphic have carried way more clout as a result of this newfound energy, breathing fresh life into Crockford's songs as the songs themselves delve ever more skilfully into a pool populated with Dandyish psychedelic pop, British Invasion muscle, new-wave sparkle and that ever-present Medway magic. "I wanted to make an album a lot quicker this time," Allan explains. "The last one took nearly two and a half years. This one has been written and recorded in less than a year, which is pretty good going for us. This time we were rehearsing and recording the songs pretty much as soon as I'd written and demoed them, and I think it has a unified feel that I really like." The approach to capturing the group's hot sound on tape remains the same. "The tracks would go down on 8-track tape then be transferred onto my digital multi-track, then put on the computer at home for all the overdubs and mixing. I'd like to record in a 'proper' studio for a month with an engineer, lovely 2-inch tape and vintage compressors, but this is a budget operation!" Ah, the tracks - a more panoramic, dare we say eclectic selection than we've heard before from the G7. The pastoral psych-pop moments are more colourful, the crash-bang-wallop gear more dynamic, the riffs sharp enough to take your eye out. "I don't know if 'challenging' is the right word," he continues, "but in the context of this kind of 'garage' sub-genre we all get lumped into, it's almost like we're taking a risk by doing something a little different, quiet, slow, odd, proggy, whatever. We're just a pop group, in the original sense of the word, so if I accidentally write something a bit different we'll have a go at it." For the first time all four members are featured as lead singers. "I wanted everyone to sing at least one song on this album, mainly because I get sick of hearing my own voice for 40 minutes. I'm probably the least accomplished vocalist in the band. I think having different vocalists and some 'different' songs on the album makes this album a better listen as a whole - it was definitely easier to come up with a decent track listing that varied the pace and feel." "Improvising on a theme of doubt," Crockford sings on 'The World Looks Different Today', yet There Is Only Now is possibly The Galileo 7's most satisfyingly determined record yet; its sonic peaks and troughs bound together by four people singing and playing in unison, and from the heart. And doing it loud. Andy Morten Shindig! February 2019

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Voulez Vous Cha-Cha? French Cha-Cha 1960-1964

LP | 2019 | EU | Original

How Many Lies, How Many Times

Release: 2019 / EU – Original

Genre: Organic Grooves

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Careful, “Let’s not get angry” suggests Spartaco Sax, the famed song accompanying French daily paper FRANCE-SOIR’s campaign against road violence: music isn’t that serious, often times really not. In any case, it is with this not so serious ear that one should listen to this selection of chachacha, mambo and other genres to twist and madison to, as music-lovers pinch their noses and block their ears. And yet, these breezy and light songs under their false airs of effortlessness draw out an astonishing analysis of late 1950s France with its partying baby boomers. Put on your dancing shoes, everyone on the dancefloor, let’s go baby.
The record starts out with an esoteric organ, a guitar straight out of a western, a vibey rhythm section, a speeding saxophone, a glamorous voice, a curious keyboard, a slightly panicky tempo… “Please Mr Hitchock!” calls out a voice from the unknown, on an arrangement that’s about to lose control.
The tone is set. Eins Zwei Drei, cries out Spartaco Andreoli, creator of the Chachacha for tunas, lyrics that are absurd accompanying music that isn’t so much so. And this is just the beginning. I can already see those making fun of it, and yes, I admit it does sound a bit comically-tragic, but more often than not, a persistent riff or melody will get stuck in your head, a chorus that you’ll start unintentionally humming, your foot that starts beating unbeknownst to you. “C’est bon ça dis donc !” (This is pretty good), suggest the Los Goragueros, at the start of their Mambo Miam Miam (Yum Yum). A smooth sax, a double bass that sways and shattering percussions, this song anonymously written by Alain Goraguer (there is often an “os” (bone), added to the band name for a little authenticity, i.e Los Chiquitos and Los Albinos) is actually quite tasty. This arranger and pianist who went on to write the indispensable Planète Sauvage (Wild Planet) is not the only one to have advanced half-masked in these tropical times. Just as Michel Legrand devoted himself to rock music, for better or worst.
Tropical music and France go way back. Indeed, this tropism for exotic music, not without the mannerisms that go with it, has been around. Just think of the period between both world wars, when the Paris of the roaring twenties fluttered to the sound of Latin-American orchestras. The influential Brazilian musician Pixinguinha came through in 1922, the charismatic Cuban singer Rita Montaner triumphed a few years later at the famed Palace and the brilliant clarinettist Stellio from Martinique had everyone dancing through the night to the beguine (a dance style from Martinique)… Seedy cabarets and fishy clubs mixing up different peoples and music until the early hours. From Montparnasse to Montmartre, dancing clubs bloomed throughout the capital while the World Exhibition sold a rather uncertain idea of the other tropics: a discounted and fantasized exotic dream of island life. It’s in bars like Jimmy’s, by La Coupole, or the Melody’s nestled in the heights of Pigalle, where Don Marino Barreto’s (Cuban pianist and singer who emigrated to Paris in the 1920s) orchestra made the heyday of a surreal and carefree Paris. Parisian Ray Ventura and his band Les Collégiens, quite the breeding ground for funny songs, at times almost delirious, were always a big part of the party.
And after the Second World War, it started all over again. Rico’s Creole Band was one of the great Creole orchestras to sway all of Paris, the Blomet Ball brought together the Afro-Caribbean communities, L’Escale became an essential dancing ground for lovers of Latin music, the pianist Eddie Warner was one of these pillars, accompanied by his “rhythms”, a “witty orchestra with 85% of French musicians, only the percussionists were South American”. Another jazzman, Henri Rossotti, also navigated in the warm waters of these gentle tropical shores. They covered sambas and mambos, adapting Benny Moré and Pérez Prado. Hot, like the hard-hitting Benny Bennett and his orchestra of Latin American music, which ended up being the training grounds of many apprentice improvisers. On the menu: calypso, merengue… and of course chachacha. Shortly after, the Los Machucambos, a South American band created in the Latin Quarter performed music between guajira and flamenco and its song Pepito marked the start of the trio’s success.
At the time, Latin-style combos were all the rage in France such as the chachacha which was officially invented in the early 1950s by Enrique Jorrin, soon followed by the pachanga, becoming a staple of black-and-white films. In the long run, this music has become a sort of French standard, adapted by many: Boris Vian oftentimes, Bourvil, Bob Azzam, Gainsbourg, Carlos (jokingly), Louis Chedid, Vanessa Paradis… Taking it a little far, you could even detect the beginnings of the french touch. This Chachacha affair is emblematic of the atypical history of popular music, that of back-alleys, far from the paths and furrows of glory. Music, raised from the grave and dusted off by the Born Bad record label. In terms of latin music, these records that were patiently found in flea markets are becoming a rarity, even if most are worth three euros and six cents: this low cost hobby is underestimated by licensed collectors, who run like lunatics towards triple-zero rarities.
Chachacha Transistor, predicted the unlikely Jacky Ary, known for his less digestible Mange des tomates (Eat tomatoes). With the approach of the 1960s, typical music styles were found all over the country, from the northern plains to the southern sea. Never failing to cheer up dances, nor to whet the appetite of a burgeoning industry, which often seized it by opportunism, not without a tinge of cynicism. After all, one must sell records to the desolate youth, at all costs and any price. These 7-inch vinyl records were therefore recorded at Barclay, Vogue and co. Low-consumption products intended to supply the shelves of budding suburban supermarkets. The idea was to convert a North-American trend in the studio, by summoning old geezers (Paul Mauriat under the pseudonym of Eduardo Ruo, at the top of the list…) who would play young and interpret these rhythms with a distorted vision. All for just one season and all this before summer hits were a thing. It was already the same idea though, but in more of a D.I.Y fashion. A quick fix, just enough time for the producers to get some juicy revenue, the same ones who recruited teams to perform these “inferior” works. Most were flops, but a few made it big such as Jean Yanne answering to Henri Salvador for Allo Brigitte, a classic of the “comic-musical” genre. It’s author Norma Maine went on to write quite a few of these quirky songs.
Most had improbable dialogue, as well as senseless adaptations such as the Marchand de melons (The Melon Merchant) distorting Herbie Hancock’s Watermelon Man, a result of automatic writing in order to come up with ridiculous lyrics. What can be said about Tarte à la nana (Girl Pie), and how about Ça c’est du poulet ? (This is Chicken?) Or the terrible Soukou Soukou, on the limit of bad taste, words of a colonist… When it comes to reappropriating foreign know-how, the results can turn out strange like a surreal shock of cultures. Improbable mixes, like chacha bebop, latino tempo and scat jazz… It all definitely swings and is sometimes even quite impressive. Because magical loose moments are to be found in these records made to order, records that were just trying to recreate a successful pre-existing North American formula. They recorded them on the line, in the original spirit, or inconspicuously modified them, not only for fun, but also for the pleasure of adding on a chorus which would take the song a little further, or a well adjusted rhyme that would denote a touch of derision, a French tradition that was to be repeated in rock as in punk, and even bossa nova. The key often being explosive arrangements, occasionally beautiful choruses, radiant mishaps, confusing mistakes, not necessarily off-topic, all in all some sweet musical trips that always have an effect on the dancefloor when it’s time to boogie. Try it out, you’ll see, it works every time, if you don’t abuse of it. Moderation is recommended for this music that should be served either at cocktail hour or after midnight…

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Diamond Street Players

7" | 2019 | US | Original (Gemco)

LP+7" | 2019 | EU | Original (Glamourama)

Release: 2019 / US – Original

Genre: Organic Grooves

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How Many Lies? How Many Times? Indeedsadly, this is the question of the day. At this 45s press time, the current White House occupants tally is just under 10,000. What can we do about it as a little soul/funk label way down south? Put out the most bangin slice of wax we ever have and bring the protest song back into the fold.The Diamond Street Players, dropping their second single off their forthcoming LP, put down some Five-Edwin-Starr business with How Many Lies, How Many Times?, an uptempo no-apologies deep funk super-side that grabs you from the get-go and then doesnt let go.Written by co-producers Spencer Garn and Leo Black, the song features Adryon de Leon, a very well known voice in soul/funk circles, best known as a vocal power-hitter for Breakestra offspring, Orgone. Adryon absolutely detonates this track, with a delivery that makes it seem that this song has been out in the ether for decades, just waiting for her to come up to the mic, get mad, and lay it on us.The B-side, Organ Workout, is another blistering funxcursion by the Players, so DJs better get two copies just to get right to the flip.

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Nina Simone

Little Girl Blue

Release: 2019 / EU – Original

Genre: Organic Grooves

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Live At Antibes Jazz Festival In Juan-Les-Pins 1968

Pharoah Sanders

LP | 2019 | EU (Alternative Fox)

The Breadwinner Opaque Blue Vinyl Edition

Release: 2019 / EU

Genre: Organic Grooves

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Pharoah Sanders: Live at the Antibes Jazz Festival in Juan-les-Pins July 21, 1968 Experimental jazz titan Pharoah Sanders made a lasting impact with his unorthodox approach to tenor saxophone. Born Farrell Sanders in Little Rock, Arkansas in 1940, he was given the nickname Pharoah by grandmother, in reference to the potential regal lineage of his African heritage. Playing clarinet at church services during his youth, he began playing tenor sax at high school. In 1959 he moved to Oakland, California, where he played with rhythm and blues bands and befriended John Coltrane. Moving to New York in 1961, he drifted into Sun Ra’s Arkestra after experiencing a difficult period of homelessness. His status began to rise upon joining Coltrane’s band in 1965, where his discordant solos formed a strong contrast to Trane’s more melodious sound, though each player had a strong impact on the other’s subsequent work. Following Coltrane’s untimely death in 1967, Sanders formed a quartet of his own with former Jazz Messengers pianist Lonnie Liston Smith, bassist Norman ‘Sirone’ Jones of the Untraditional Jazz Improvisational Team, and drummer Majeed Shabazz. For this blistering performance, given at the Antibes Jazz Festival of 1968 and broadcast on French radio station WDR3, the quartet moves through various Sanders free-jazz workouts, taking in “Venus” from the Tauhid album and “The Creator Has A Master Plan” from Karma along the way, with the rhythm section holding down the fort as Sanders blows himself into the stratosphere.

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KVBeats

LP | 2018 | EU | Original (Ill Adrenaline)

21,99 €*

The Breadwinner Black Vinyl Edition

Release: 2018 / EU – Original

Genre: Hip Hop

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Limited to 100 copies. Hailing from Copenhagen, Denmark, producer KVBeats returns with a banging album, coming off the success of his critically acclaimed debut album "The Résumé" (2010). His dope collaborations with some of the best veteran spitters around (Royce Da 5'9", Slum Village, Mic Geronimo, Pacewon, Oddisee, Prince Po, Smooth Da Hustler etc.) gained the passionate vinyl enthusiast airplay on prestigious radio shows like DJ Premier's "Live From HeadQCourterz" and "Late Night With Peter Rosenberg". Referring to his real life as a father and husband, KV brings a stellar line up of guest appearances on his brand new LP entitled "The Breadwinner", including lyrical heavyweights like Royce Da 5'9", AG (of D.I.T.C.), Torae, Percee P, Reks, Beneficence, Little Vic, Pacewon, Chaundon, Phantasm (of Cella Dwellas), Rashad (of Rashad & Confidence) and hardworking Ghanaian newcomer Recognize Ali. KV's raw and dusty true school sound, crafted with the help of soulful samples and hard-hitting drums, gives hip-hop listeners the essence of traditional boom bap while also bringing a contemporary flavor to it.

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KVBeats

LP | 2018 | EU | Original (Ill Adrenaline)

12" | 2019 | EU | Original (Cree)

Release: 2018 / EU – Original

Genre: Hip Hop

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Limited to 500 copies. Hailing from Copenhagen, Denmark, producer KVBeats returns with a banging album, coming off the success of his critically acclaimed debut album "The Résumé" (2010). His dope collaborations with some of the best veteran spitters around (Royce Da 5'9", Slum Village, Mic Geronimo, Pacewon, Oddisee, Prince Po, Smooth Da Hustler etc.) gained the passionate vinyl enthusiast airplay on prestigious radio shows like DJ Premier's "Live From HeadQCourterz" and "Late Night With Peter Rosenberg". Referring to his real life as a father and husband, KV brings a stellar line up of guest appearances on his brand new LP entitled "The Breadwinner", including lyrical heavyweights like Royce Da 5'9", AG (of D.I.T.C.), Torae, Percee P, Reks, Beneficence, Little Vic, Pacewon, Chaundon, Phantasm (of Cella Dwellas), Rashad (of Rashad & Confidence) and hardworking Ghanaian newcomer Recognize Ali. KV's raw and dusty true school sound, crafted with the help of soulful samples and hard-hitting drums, gives hip-hop listeners the essence of traditional boom bap while also bringing a contemporary flavor to it.

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Brother Resistance

Tonite Is De Night

LP | 1970 | EU | Reissue (Amercia)

Release: 2019 / EU – Original

Genre: Organic Grooves

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Out of the social unrest and revolutionary times of the early 1970s a new musical art form emerged on the streets of Port of Spain, Trinidad & Tobago. A group of young guys started to combine poetry with drumming and created the musical art form that is known today as Rapso.
Poets known as much for their fiery verses as they were for leading protests were at the vanguard of the 1970s Black Power revolution. There was a new consciousness building in the Trinidad and Tobago arts scene. The two most influential characters were Cheryl Byron and Lancelot Layne.
Lutalo ‘Brother Resistance’ Masimba and others would play basketball during the day and come back out at night, ‘liming’ and playing drums. Other people from the block would join with instruments and Brother Resistance would perform his poetry on the rhythms. The prestigious boys school that Resistance attended refused to acknowledge his attempts at creating verses that reflected the rhythm of the Trinidad and Tobago creole. ''They said it wasn't poetry. They didn't want to put it in the school magazine.''
Resistance and his friends toyed with other words to describe their style. They came up with 'rapsody' but one night during a show in Santa Cruz somebody in the audience shouted out ''How you could rap so!'' And the rest is history.
They recorded their first album ‘Bustin Out’ in 1980. More albums followed and they started to work as producers. In 1986 the band performed at ‘Caribbean Focus’ festival in London and toured the U.K. which helped to lift their reputation internationally. The same year Brother Resistance decided to produce his first solo album and went to England to record ‘Rapso Take Over’. This album contains the highly acclaimed tracks Ring De Bell, Dancing Shoes Rapso and Star Wars Rapso. An unreleased take of Wars In Rapso is featured on this Cree Records 12''.
The band wasn’t too impressed with the ‘English’ production and they decided to record a new version of the song. Junior Wharwood recorded the guitar tracks. Resistance came up with the idea of Tonight Is De Night. The more or less improvised song became a big carnival hit in Trinidad and he went to perform it live with bands like Sound Revolution, Shandileer and Charlie’s Roots.
At the time, these tracks received little airplay in Trinidad and Tobago, but they're undeniable hits that continue to be in demand dancefloor bangers. For this 12'' we have selected four of Brother Resistance's most in demand tracks. Long live Kaiso – Rapso take over!

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Noah Howard

Space Dimension

41,99 €*

LP | 2019 | EU | Original (Super Disco Edits)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Noah Howard was born in 1943 in New Orleans and, like many of his contemporaries, first played music in church as a child. In his 2010 book, 'Music in My Soul', Howard reflected upon his childhood in New Orleans and the influence the city had on him: “Growing up in New Orleans was like receiving a steady diet of music, and my taste in music became increasingly more sophisticated. In the neighborhood where I grew up kids around me were listening to Rhythm and Blues and Jazz; Rock came only much later. One of the great moments of my life was when I was around 13 years old and heard Duke Ellington with Paul Gonsalves playing a twenty-some minutes chorus solo on tenor sax at Newport. We had never heard anything like this before; a saxophone player doing so many choruses, this was years before Coltrane opened up. That experience meant there was no turning back; my ears were open and my desire was burning for music.”
He first learned to play the trumpet before moving on to alto, tenor and soprano saxophone. And his musical journey initially took him to Los Angeles where he worked with Dewey Johnson and then later moved to New York to join the Sun Ra Arkestra. Like most forward thinking saxophonists of the time, Howard was influenced by the evolving expressionism of John Coltrane and Albert Ayler and it wasn't long before he became a key member of the mid-60s free jazz movement, a stepping stone to his elevation into one of the world’s most notable saxophonists.
Howard's debut LP as leader, 'Noah Howard Quartet' was recorded in 1965, and the follow up, 'Noah Howard at Judson Hall', in 1966 but not issued until 1968, both for the groundbreaking ESP Records label (incidentally, both albums featured British trumpeter Ric Colbeck). However, Howard's view of ESP was not positive, calling it “ a monster of deception... I am aware of ESP's adventures...they continue to make money off the artists and they refuse to pay any royalties.”

Like many of the black jazz musicians of the 60s, Howard left the USA and settled in Europe (making the permanent move to Paris in 1972). In an interview in 2005, Howard explained his move: “When I first came to Europe it was 1969 and I came to play in a big festival and after that we had a lot of concerts, recalls Howard. "Then we left and we came back to the States, I was based in New York at that time. About six months later, we had some more concerts, we came back and this went on for years, going back and forth and back and forth and back and forth... I decided that instead of going back and forth all the time, it was more advantageous for me to stay over here and live and work.”
It was in Paris that Howard took part in sessions for the Frank Wright albums 'One For John', cut for the leading French free jazz label BYG Actuel and another Wight session, 'Uhuru Na Umoja', for the America label. Another album on America that featured Howard was Archie Shepp's 'Black Gipsy'. This session also featured , among others, Sunny Murray on drums and Clifford Thornton on trumpet.
America Records was to be home to Howard's third album, 'Space Dimension'. On this album, Frank Wright was reunited with Howard once more, and Wright also composed one track, 'Church Number Nine' (Wright would also do his own version as the title track on his 1970 album, initially only released in Japan. That album would also feature Howard.) 'Space Dimension' also features bop drummer Art Taylor on three tracks, with Muhammed Ali (brother of Rashid), on one. They're joined by alongside pianist Bobby Few, longtime member of Frank Wright's group and an alumnus of Archie Shepp's band.
'Space Dimension' has never seen an official reissue since its original release in 1970 and remains, among a few aficionados, one of the most in demand - and little known - albums in Howard's discography. The blend of free improvisation with a tough rhythmic foundation make for an edifying listening experience. The spectral disjointed afro-blues of the title track, with Howard's soaring, searing horn, introduces an exceptional album of weight and significance, a real statement piece. 'Viva Black' starts as a lush groove, rich with texture and tone. Bobby Few's piano is sparse and disciplined, allowing space for the interweaving angles of the horns and drums to cross and jostle and build in intensity, with Muhammad Ali's drum solo acting as a cathartic release.
'Song for Poets' is blistering in its attack, an intense assault from the whole group – urgent and imperative, a call to action that seemed to resonate with the tumult of the late 60s and early 70s and, perhaps, still resonates now. The album closes with the extended piece 'Blues for Thelma'. It starts like a sort of angular, shattered New Orleans first line march band; Howard visceral horn and Few's piano joust and punch like fighters in a ring; Ali's drums hammer a solid undertow of power and energy, relentless in its fire.
All in all, 'Space Dimension' announced Howard's arrival into a new decade, a decade that was to see not just jazz but music and wider society undergo profound change.
Howard's third record was the widely acclaimed 'Black Ark', which featured Arthur Doyle on his first recording. 'Black Ark' soon became a landmark free jazz recording and elevated Howard into the first division of globally renowned free jazz players.

He spent much of the next decade or so exploring new ideas and places to work, including Europe and Africa, moving to Nairobi in 1982 and finally Brussels, where he had a studio and ran a jazz club.
In his autobiography, Howard described going to Africa: “It was a Sunday morning with bright blue skies and I reached down and grabbed a handful of earth, holding it in my hands. It was red earth. As the first of my family to make this voyage back to my community, I was filled with emotion and started to cry – thinking about all those before me who didn’t survive the middle passage and slave trade. I thanked the few strong survivors of which I’m a descendant and was grateful to be a live and to make it back to Africa in my lifetime. The feeling of coming back home, after generations had gone through abuse and suffering, was upon me. I would put some of this into music later on when recording with James Emmanuel, the poet on 'Middle Passage'”
He recorded steadily through the 1970s and 1980s, mostly with his own label AltSax and continued to expand his repertoire, exploring a range of sounds from ethno-funk to world music in his latter decade. He returned to his free jazz roots in the 90s, mixing the myriad of influences and styles he had encountered throughout his journey.
Noah Howard recorded 35 albums, and their styles reflect the ceaseless musical searcher he was: blues, free jazz, world music. He covered it all.
Noah Howard died on September 3rd, 2010 while on holiday in the South of France. He died a day before finishing the first draft of his autobiography.

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Klimate

Esp / To See You

2LP | 2019 | UK | Original (Claremont 56)

Release: 2019 / EU – Original

Genre: Organic Grooves

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When growing up as a young teenager many dream of hitting the recording studio and getting that record deal.
The sheer musical drive inside you to lay down those raw and emotional feelings.
The chances of going to high end studios were slim and expensive. Opportunities were sparse to say the least.
So the next best thing was to go into one of the ever growing number of home studios that were popping up in the 1980's
Studios in peoples garages or in the spare bedroom.
And so we bring you to a small group of teenagers called Klimate.
They ventured into a un-named 8 track studio in Walsall around 1981 to record a series of 2 tracks.
There is little remembered about the group of lads from member Harbans Srih who played drums on both tracks and was in charge of writing duties. Harbans Srih was also the man behind sde 42 Sticks & Co "Jazz Dancin"/"Jazz funkin" .
The 5 piece band was very multicultural that really represented music in britain at the time. 3 of the players were of Afro-Caribbean decent giving us lead vocals, guitar, bass and keyboard. The 4th member was only known as a ginger haired youth (we like him!!) who was on saxophone duities.
shortly after these recordings tragedy struck Klimate and the bass player was killed in a car accident whilst on vacation in Italy.
fast forward 37 years and Harbans Srih discovers just a single D.A.T from that 1981 session.
We did our utmost to sonically get the recordings up to our very high standards at Super Disco Edits. Whilst we feel it perhaps just falls short, we couldn't ignore these recordings that optimises British youth culture and the heritage of Brit funk .
We hope you enjoy them.

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Ferdi

All One

Le Personnage Principal Est Un Peuple Isolé

Release: 2019 / UK – Original

Genre: Organic Grooves

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Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in sambainfluenced
drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and fireside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbedout
shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-fi reggaejazz
of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner.

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Benjamin Lew

LP | 2019 | EU | Original (Stroom)

27,99 €*

LP | 2019 | EU | Original (Vumbuka)

Release: 2019 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts ... and worked part-time as a cocktail mixer in a tropical bar which was one of the favourite watering holes of Brussels’ thriving artistic community of the early ‘80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers & artists who patronized the bar. Benjamin had a secret passion: he wasn’t a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he’d agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of ‘82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You’d think that some of the pieces feature non-European musicians or samples but: no... this is just Benjamin’s imagination, his synths, and his friends… Marc Hollander, Feb. 2019

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Sandy B

Qhum Qhaks

20,99 €*

LP | 2019 | EU | Original (EM)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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New material by Sandy B! South African Kwaito inspired music on this one....check out "Qhum Qhaks" which is a favorite here...
Sandile Bhengu comes from Durban, South Africa, where he in the middle of the 90’s released his debut kwaito album Amajovi Jovi under the moniker Sandy B. During the following decades he would move actively within the local music scene and touch a variety of genres including afro-pop, deep house, R’n’B and Soul.
In the mid 2010’s around 20 years since its release crate diggers and DJ’s across Europe and North America started dropping tracks from Amajovi Jovi. In late 2017 the album was reissued on Canadian label, Invisible City Editions giving a new lease of life to a forgotten classic and giving this once little known artist an international reputation.
Following the successful re-issue of the 1995-album Sandy B returns to the forefront of music with original material 24 years later in the form of Qhum Qhaks.
Qhum Qhaks comes from a close collaboration between Sandy and Danish DJ and collector Simon Lundsgaard a.k.a Simone Ahà. All songs were recorded in Sandy’s home studio to stick close to the ethics and production techniques of the 1995 classic. The material that emerged from this experimental process between the two of them captures the spirit of old school kwaito from the 90’s.
Vumbuka Records was founded by Sandile Bhengu & Simon Lundsgaard in 2019 especially for the release of Qhum Qhaks. The vinyl release of Qhum Qhaks contains seven original tracks and a download code with three extra bonus tracks.

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YPY

Be A Little More Selfish

Flamagra Black Vinyl Edition

Release: 2019 / EU – Original

Genre: Organic Grooves

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YPY is back with his third full-length album, his second on EM Records, following his 2016 debut Zurhyrethm, and 2020 on Where To Now? YPY is the solo alias of Osaka-based Koshiro Hino, who has honed his rhythmic instincts as leader of the acclaimed Japanese band goat and the sound installation/theatre project GEIST and Virginal Variations. His preoccupation with propulsion is on full display here, across five tracks of varying density and intensity, all thoroughly beat-oriented, with skeins of synthesized and sampled sound stretching to the horizon, rising from a bedrock of minimal drum machine pulses, all lovingly embraced in a cassette-borne sonic fug. The cover image and title hearken back to Hino’s past, with the image obscurely referencing his yesteryear green mohawk, and the title derived from Talking Heads, but this effervescent album, though recorded using cassette technology, is not a sad tale of nostalgia, rather a look at a present/pleasant reality. Cover drawings by NAZE.

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Flying Lotus

2LP | 2019 | UK | Original (Warp)

36,99 €*

LP | 2019 | EU | Original (Soave)

Release: 2019 / UK – Original

Genre: Electronic & Dance

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Black Vinyl in gatefold sleeve with mp3 code included!

Almost five years have passed since the last album by Flying Lotus, You're Dead! and he has had many irons in the fire. Collaborating on Kendrick Lamar's To Pimp a Butterfly, playing a key role in the production of Thundercat's Drunk, writing and directing the hallucinatory horror film Kuso, all the while working on his next afro-futurist masterpiece, Flamagra.

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

“I’d been working on stuff for the past five years, but it was always all over the place. I’d always had this thematic idea in mind—a lingering concept about fire, an eternal flame sitting on a hill,” Lotus says. “Some people love it, some people hate it. Some people would go on dates there and some people would burn love letters in the fire.” - Flying Lotus.

Hold tight, Fire is Coming.

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Riccardo Sinigaglia

Ambient Music

CD | 2019 | UK | Original (Warp)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Futuro Antico, the mesmerizing collaboration of Riccardo Sinigaglia with Walter Maioli and Gabin Dabirè evoked in its name the uncanniness of simultaneously witnessing past and future. Ambient Music, Riccardo Sinigaglia’s first solo work –recorded in Dec. 1984 and originally out on cassette from ADN Tapes in 1985— ultimately delivers on that idea, embodying different irreconcilable time frames not just in name.
From our vantage point, the sounds of the two performances --“Watertube” and “Ringspiel”-- appear as though they arrive to us from a past which we have great difficulty in recognizing and imagining ourselves coming from while simultaneously working as a projection of a future that is both our contemporaneity yet also surpasses it. It’s this ability that Riccardo Sinigaglia’s work has of being both rooted in its context while instantaneously capable of transcending our own that makes him one of the key figures of that explosion of beauty and creativity that defines the peculiar iteration of radical minimalism that characterized the experimental and avant-garde music scene in Italy, particularly the Milanese one with its rich countercultural scenes crossing over into the long reverberating academic legacy of the Studio di Fonologia Musicale RAI di Milano during a hyperactive decade starting in the late 1970s. An aggressively conquered freedom which resulted in works of an incredible gracefulness aimed towards a future at a moment when both grace and the future had seemingly begun their slow obliteration under the blows of powerful destructive forces.
“Watertube” starts as a synth and magnetic-tape based ambient soundscape that slowly adds what appears to be a prepared piano which eventually competes for audibility with a phrase that evokes the titular watertube, treated, looped and stacked as it phase-shifts producing a busy polyrhythm that asynchronously gurgles and bubbles, approaching but never breaking into chaos. It’s some strange version of Eno’s oblique discreetness ostensibly being overwhelmed by the perversity of a Stevereichian shape-shifting pattern but the moment the former is about to be overwhelmed the composition begins a slow recession back towards the system it originated from.
“Ringspiel” is a more playful yet warped affair, a complex ecology rather than a simple economy of sounds. Opening with a whimsical melody seemingly played on a prepared toy piano this gives way to a tape loop punctuated throughout the rest of the piece by individual sounds whose origins remain uncertain. These produce scattered melodies that underscore an electronic based minimalism with a synthetic heart that nonetheless showcases a pulsating, wet, fibrous core that beats with organic life. It ends not in the opening whimsy but in fragmenting percussive shards of sounds. While it might superficially appear deceitfully familiar and comforting and evoke recognizable pleasures this is neither your father’s ambient nor your mom’s minimalism. And it sure as hell ain’t your older brother’s lame substanceless new age noodling. There’s a dark heart to Sinigaglia’s record – listened to today we are conscious that the future “Watertube” and “Ringspiel” pointed towards never arrived and yet we are aware of nonetheless inhabiting it. That is ultimately the tragedy and the thrill of these compositions. We are told that the future’s been annulled due to a degenerative process that began precisely around the time in which this music was first recorded. And yet. As time folded in on itself and we were made to inhabit the futureless predicament of an eternal present these recordings act as relics from the last possible instance where a future could still stand to be imagined. A little sliver of opportunity. Look into it. It just might give you a peek into tomorrow. The time is out of joint.

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Flying Lotus

Flamagra

Release: 2019 / UK – Original

Genre: Electronic & Dance

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Almost five years have passed since the last album by Flying Lotus, You're Dead! and he has had many irons in the fire. Collaborating on Kendrick Lamar's To Pimp a Butterfly, playing a key role in the production of Thundercat's Drunk, writing and directing the hallucinatory horror film Kuso, all the while working on his next afro-futurist masterpiece, Flamagra.

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

“I’d been working on stuff for the past five years, but it was always all over the place. I’d always had this thematic idea in mind—a lingering concept about fire, an eternal flame sitting on a hill,” Lotus says. “Some people love it, some people hate it. Some people would go on dates there and some people would burn love letters in the fire.” - Flying Lotus.

Hold tight, Fire is Coming.

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LP | 2019 | US | Original (Numero Group)

Planisphere

33,99 €*

12" | 2019 | EU | Original (Antinote)

Release: 2019 / US – Original

Genre: Electronic & Dance

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Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. We’ve spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

Static filled signals emanating deep from inside the walls of Laurel Canyon, bouncing off clusters of incipient late century technology, are pulled through the twisted rabbit ears of a Chevy Astro Van. Planisphere. The equivocal sound of hippies fresh from their back-toland sojourns shuttling drum machines through heartworn aspirations, as if the music section of the Whole Earth Catalog came to life. Let out from astronomy class with an arm full of Brain and Sky label releases, these 9 nomads scribble plein air narrations over a landscape turning its back on the sun. Bask in the reverberations of our celestial home sweet home.

Our Planisphere, for those within the 30-40 degree zone, will provide you with a fairly discernible chart for discovering both deep-sky objects and telluric emotional pulses.

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D.K.

Riding For A Fall

Funkorama / Double Green Remix

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Is another EP from D.K. about to land on Antinote while the first one has been announced only a month ago? Well, this looks very much like a series and – spoiler alert – Riding For A Fall EP is the second installment in a trilogy.
With a BPM crossing the 120 line on 2 out of 3 tracks, there’s little doubt that this second 12” is also meant to be played in a club environment. The 9:37 min long Voices sprawls over the whole A-side. Like many productions stamped “D.K.”, the structure is linear only in appearance: it winds up and down between fantasized exotic landscapes, digital plug-ins mimicking “far east” instruments that are barely recognizable. It gets even snakier with the Samurai Showdown-inspired Shoubuari (Battle): pixel swords brushing past our ears, martial drumming and menacing synths (D.K., were you the kind of kid who owned a Neo Geo?) - it’s pretty obvious that we’re in the world of SNK’s legendary fighting game.
Things calm down with Riding For A Fall: less button-mashing, more concentration as we’re witnessing the sacred martial art known as Street Fighter’s quarter circles… But enough with these video game metaphors! No need to be a pro-gamer to enjoy this piece of music. It’s sad & slow house music with a cinematographic quality – and, perhaps, the most moving moment in this series of 12”. To be continued…

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Redman

7" | 2019 | EU | Original (HHV Boombap 45s)

Marc Bianco, Effgee & Wearing Shoes

Release: 2019 / EU – Original

Genre: Hip Hop

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Strongly limited edition of 300 copies of the 12th release in our »HHV Boombap 45's« series.

This time we are more than honored to present you Redman's uberhit "Funkorama" backed with the "Double Green Remix" for the very first time on a funky little donut. Sureshot!

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Enjoy Your Cuppa

12" | 2019 | EU | Original (Quintessentials)

10,99 €*

2LP | 2019 | EU | Original (Concord)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Quintessentials has a long history in putting out those nice little (or sometimes big…) compilations. It was “deep, raw and real". Then “thank you freaks". After that “gentlemen cuts". Now it’s “enjoy your cuppa"! Vol. 1 starts with 4 new and refreshing faces on Quintessentials. Marc Bianco is for sure no newcomer, as he’s a part of the famous Moonrise Hill Material crew with Folamour and other top french producers. “Wet Scott” is a smooth yet freaky tune with tight beats in a best MB manner. For german Effgee, “feels like ding” is his first track ever released. Happy lad! And we’re sure it won’t be the last. Italian air man Wearing Shoes is quite new to the scene, but has a quite impressive list of releases already. For Quintessentials, he teams up with…well yeah, Javonntte (check his two Quintessentials releases, 59 and 61). Proper house music guaranteed! Last but not least, Roy Vision (another french artist who just released on Roots for Bloom) goes deep and dusty, with lovely Rhodes and snares! We hope you enjoy your cuppa!

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Esperanza Spalding

12 Little Spells

28,99 €*

Release: 2019 / EU – Original

Genre: Organic Grooves

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7" | 2019 | EU | Original (KingUnderground)

Flughand & Smuv

Fluo

The Max Roach Trio Feat. The Legendary Hasaan

Release: 2019 / EU – Original

Genre: Hip Hop

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Flughand and and Smuv, 37 and 27 year old producers from Germany, collaborate on their debut EP “Fluo”. They are both giants in the streaming game and known for their laid back, dreamy, lofi hip hop beats. They are two of the most well-known artists in the genre of lofi, with streams counting more than 100 million clicks. BeatPete, a fellow German and widely respected DJ, is the link here for the release on KingUnderground. BeatPete is a friend of KU owner, Dan Englander, since they met on a tour in Berlin in 2015. BeatPete sent links to some music he was enthusiastic about to Dan and then KingUnderground reached out to Flug & Smuv. The two had never met but were fans of each other. From there it was quite straightforward. They have like-minded inspirations in music and they follow the same ethos:
music is for fun, not a consumable; any money they make from being creative is a reward. They each have their own distinctive style of cover art for all their solo projects and this time they worked with an Italian artist, “Heey Studio Design” for the “Fluo” EP illustration. It conveys the two of them, a cat (Smuv) sitting on a little island, chilling with a cocktail in the middle of an ocean and a dog (Flughand), flying an airplane up in the sky.

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The Max Roach Trio

LP | 1965 | EU | Reissue (Speakers Corner)

34,99 €*

Milton James & The Creators / Kenard

Release: 1965 / EU – Reissue

Genre: Organic Grooves

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Hardly any other musician has released so little as Hasaan Ibn Ali, born William Henry Langford Jr., in 1931, who died in 1980. Just seven titles in all are his complete output, all of which he composed himself, all of them on the present Atlantic LP, and all recorded in December 1964. The saxophonist Odean Pope, who often practised with him, talks of a second recording session in 1965 for Atlantic, but the recordings were never released because Hasaan was sent to jail shortly afterwards; rumour has it that the tapes were destroyed in a fire – and it might well be that recordings with John Coltrane still exist somewhere or other.
Until then, one should enjoy the Max Roach Trio with Art Davis on the bass to the full. We have here a recording that will astound and fascinate your ears with its originality. A first impression conjures up reminiscences of Cecil Taylor and Herbie Nichols, while Hasaan himself talks of the pianist Elmo Hope as the man who brought him closer to the 'mystery of music'. When asked how the recording session with maestro Max Roach went, Hasaan said: »They scared me to death.«
According to Odean Pope, Hasaan was not an easy person to get on with, and he was convinced of his talent to the point of arrogance. But despite this – or perhaps because of this – one listens spellbound to the 40 minutes on this LP, a legacy and never-fulfilled promise of an extremely talented man. We are indebted to Max Roach, who persuaded the bosses of Atlantic Records to make these recordings. For many, many years they had vanished from the record market, but fortunately they are now available as an audiophile re-release to be listened to and admired.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.

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My Lonely Feeling / What Did You Gain By That

7" | 2019 | UK | Original (Kent Soul)

10,99 €*

12" | 2019 | US | Original (In The Red)

Release: 2019 / UK – Original

Genre: Organic Grooves

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Like most other Northern Soul aficionados, I would love to have an original of Milton James’ trance-like, rhythmic soul dancer ‘My Lonely Feeling’ but a Kent 45 is going to have to fill the gap until that lottery win. Milton was a member of, and is backed by, the Creators who usually had Little Johnny Hamilton out front.

It is coupled with the quirky and similarly elusive ‘What Did You Gain By That?’ by Lew Bedell’s right-hand soul man - Kennard Gardner.

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The Revenge

Four Song 12inch

LP | 2019 | NZ | Original (Lil' Chief)

Release: 2019 / US – Original

Genre: Rock & Indie

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If the original intent of punk rock was to reject the excesses of mainstream rock, strip things back to bare bones basics, jettison slickness and embrace a DIY ethic, then THE REVENGE were punk rock personified. Formed in 1977 in Cheshunt, London by Lol Hammond (vocals/guitar), Ian Strange (bass/vocals) and Dave Edgar (drums/vocals), these teenagers played most of London’s punk clubs, including the Roxy. The band self-released two singles in 1978 on their own Loony Records before disbanding in 1979. Both 7-inches were pressed in incredibly small amounts and now have legendary status amongst collectors going for ridiculous sums. The recordings are extremely raw, even by punk standards—particularly on the band’s first single, where the guitar sound is so tough and scuzzy it would not sound out of place on a volume of Back From The Grave. Needless to say, the singles received little press and vanished without a trace. Nowadays Lol Hammond is one of London’s well known DJs who has recorded as Drum Club and Girl Eats Boy, collaborated with Roger Eno, directed film scores and has remixed the likes of Jah Wobble, Killing Joke and The Fall, to name but three. In The Red is proud to issue the first legitimate (these singles have been bootlegged) reissue of The Revenge’s two singles.

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Jonathan Bree

A Little Night Music

Release: 2019 / NZ – Original

Genre: Pop

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LP | 2019 | EU | Original (Tapete)

Levin Goes Lightly

Nackt

27,99 €*

Release: 2019 / EU – Original

Genre: Rock & Indie

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Charlemagne Palestine & Rrose

The Goldennn Meeenn + Sheeenn

LP | 2019 | EU | Original (Eaux)

LP | 2019 | EU | Original (Waxtime)

Release: 2019 / EU – Original

Genre: Electronic & Dance, Classical Music

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Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.
March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.
The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world.
I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."
Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.
Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another.

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Little Junior Parker

Driving Wheel

Release: 2019 / EU – Original

Genre: Organic Grooves

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DJ Tudo E Gente De Todo Lugar

Pancada Motor - Manifesto Da Festa

LP | 2013 | BR | Original (Mundo Melhor)

23,99 €*

Tape | 2019 | EU | Original (Kinship)

Release: 2013 / BR – Original

Genre: Organic Grooves

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Recorded in 2003, 2009, 2012 and 2013 by Alfredo Bello in little communities, beaches, friends' houses and studios.
Edited between 2009 and 2013 by Alfredo Bello in trains, boats, planes, hotels rooms, waiting rooms and other spaces.
Mixed by Maira Martucci at Studio Itamundo and Banzai Studio - São Paulo, Brasil.
Produced by DJ Tudo vs. Mad Professor vs. Dr. Das.

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God Is God

Gig

Let My People Go Surfing (German)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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God is God is a collaboration between Galina Ozeran & Etkin Çekin.
Metamorphic imagery occasionally placed on a grayscale where it's easy to play. A bug on a silicon valley, turning into a snake and flying away gently with its little wings, joining a cloud disco where people cook fish at the bar and the beetles sing in dark corners.
Downloadcode + sticker included.

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Patagonia

24,95 €*

Rockabye Baby! Lullaby Renditions Of Weezer Record Store Day 2019 Edition

Available Sizes: One Size

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As a child, Yvon Chouinard moved with his father, a French Canadian blacksmith, to Southern California with little English and less money. Today his company, Patagonia, is approaching $1 billion in sales annually as one of the most environmentally and socially responsible corporations on the planet.

It has been ten years since Chouinard first shared his iconoclastic view of business with the world. Since then, through a global recession and intensifying environmental crisis, Patagonia has become a worldwide corporate leader—demonstrating that the values and philosophies laid out in this book are the best path to profits. This is not another tale of a successful businessman who chooses to do good on the side. It is the story of a businessman who has attained ever-growing success by placing Patagonia’s mission statement at the core of their culture: to build the best product, do no unnecessary harm, and use business to inspire and implement solutions to the environmental crisis.

Let My People Go Surfing is the portrait of a young man who found escape by scaling the world’s highest peaks, of an innovator who used his father’s tools to fashion equipment that changed climbing forever, of an entrepreneur who brought doing good to the heart of his business. In addition, it is a blueprint for all facets of responsible business, from design and production, to marketing and human resources.

Paperback edition; language: German; 280 pages; dimensions: approx. 16.5 x 24 cm; printed on 100% post-consumer-waster recycled paper.

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Rockabye Baby!

LP | 2019 | CZ | Original (Rockabye Baby!)

33,99 €*

A Historical Glimpse Of The Future Record Store Day 2019 Edition

Release: 2019 / CZ – Original

Genre: Rock & Indie, Childrens

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Dreamin' of a holiday across the sea to escape baby's cries? Why bother? Take control of the good life. When your little troublemaker gets cranky, let our gentle renditions of Weezer's biggest hits transform your nursery into an island in the sun. The perfect situation isn't only in dreams. -

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The Magnetics

LP | 1981 | EU | Reissue (Strange Disc)

Poshboy's Little Monsters

Release: 1981 / EU – Reissue

Genre: Pop

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* Record Store Day Europe / UK 2019 Exclusive Release!
* First ever vinyl reissue since 1981
* Limited to 1,000 copies
* Includes insert with extensive liner notes + obi strip

Strange Disc Records proudly presents the first ever vinyl reissue of a landmark Icelandic minimal Synth album: The Magnetics ‘A Historical Glimpse Of The Future’ (1981). The Magnetics were Jakob Magnússon and Alan Howarth, an intriguing international & iconic duo. Keyboard player Magnússon was an Icelander who already had an impressive jazz resume, while Howarth was making a name for himself as a Hollywood composer – in 1981, the same year that A Historical Glimpse of the Future was released, he also was involved in the soundtracks for two hit John Carpenter movies, Escape from New York and Halloween II. Both have been quite successful in their post-Magentics careers, Howarth with more soundtrack work (They Live, Big Trouble In Little China, Christine etc. ) and Magnússon with various jazz outfits. Jakob would end up working as the Icelandic ambassador to the UK during the 90’s. Throughout the fantastic A Historical Glimpse of the Future album you can hear the soundscapes people came to associate with the 1980s films scored by Carpenter/Howarth. Dark and moody material but with a strange twist as you can hear on the synth cover of “The Lion Sleeps Tonight” & the old-timey cabaret-styled “I’m Getting Married Today”, two truly bizarre pieces that doesn’t seem to fit at all… and somehow by not fitting actually fits perfectly, which is the real story of A Historical Glimpse of the Future. Originally released in 1981 on WRT (and going for hefty amounts on the second hand market), Strange Disc Records proudly presents a deluxe vinyl reissue (1000 copies) containing an insert with extensive & exclusive liner notes from Jakob Magnússon himself. Released exclusively for Record Store Day (UK & Europe) 2019, available in participating stores on April 13.

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Social Distortion

12" | 2019 | EU (Radiation Reissues)

LP | 2019 | EU | Original (Digitmovies)

Release: 2019 / EU

Genre: Rock & Indie

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Formed in Fullerton, CA in 1978, Social Distortion were one of the original LA punk groups and their first single was released on legendary LA punk label Posh Boy. But far more rare than that first single ("Mainliner" b/w "Playpen") is the unreleased EP Posh Boy's Little Monsters. This EP only made it to the test pressing stage back in 1981, and featured those two tracks from the first single along with "All The Answers" and "Justice For All." This is the absolute holy grail for Social Distortion fans and it's finally available in commercial form on two limited edition pressings for RSD 2019, black vinyl available worldwide and a Europe only red vinyl limited edition. Includes 2 bonus tracks.
“Of the 3 teenagers who recorded for me, one has died, another was believed to be dead and one became immensely wealthy from playing music. The one who did hard time in prison was not Mike Ness. It was the drummer Carrot, better known as John Stevenson, now living a very ordinary life in rural Florida.
I now count John as a dear friend. Apparently, he was only l6 years old when he rolled into the studio that day in April l98l, armed with a taped up pair of drumsticks. He played great as did both Mike and Dennis (RIP). This time there was no fighting in the studio over production values. I had promised Ness that we would not fight so once there was a minor disagreement over the artwork for the proposed l2", I dropped the project in favor of the Playpen/Mainliner 7" which sported iconic artwork from the band.”

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Luis Bacalov

OST Si Puo Fare...Amigo

32,99 €*

High Costa Living Feat. Mixmaster Wolf Black Vinyl Edition

Release: 2019 / EU – Original

Genre: Soundtracks

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At the time of the film’s release only a 45 rpm single of this OST was issued which contained the song “Can be done”, with lyrics by Sergio Bardotti and sung by Rocky Roberts (in 1966 Bacalov had already collaborated with Roberts, performer of the main theme from the highly successful western movie “Django”). Only in 1995 Point Records released a CD (PRCD 120) which contained the istrumental score coupled with the OST from “Il grande duello”. For this our very brand new digitally restored and remastered CD, we again had access to the mono master tapes of the recording session that gave us the chance to discover some unreleased takes which we have assembled in a 7:46 suite. In addition a special bonus track (Tr.16) features the very rare stereo-mixed version of the original 45 rpm single song. Luis Bacalov succeeds in representing in his music the whole sentimental side of the plot (the friendship between the corpulent, but good-hearted Thompson and the child Chip) by writing a sweet and cheerful main theme that is introduced in Titoli di testa in a pop key and with a little Bacharach flavour called “Can be done”, sung by Rocky Roberts and accompanied by a children’s choir (Tr.1). This theme is reprised with orchestral variations sometimes dramatically, sometimes in an epic western context with the use of the harmonica of the great Franco De Gemini (Tr.2, Tr.3, Tr.4, Tr.5, Tr.9, Tr.11, Tr.14) and alternated with saloon as well as instrumental and choir folk music (Tr.6, Tr.8, Tr.12, Tr.13). This CD is dedicated to all the fans of the mythic Bud Spencer, of the Italian Western and of the music art of the Academy Award winner Luis Bacalov.

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Jake Najor

7" | 2019 | US | Original (Colemine)

10,99 €*

7" | 2019 | EU | Original (AOE)

Release: 2019 / US – Original

Genre: Organic Grooves

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A little two-sided mean machine here! Jake Najor (drummer of The Sure Fire Soul Ensemble) brings two heaters! Both sides features members of SFSE, but the A is graced by none other than west coast funk legend Mixmaster Wolf (Breakestra) and man is it a deadly combo! The B is just a funky, nasty, mean, dark instrumental with some insanely pocket drums and a killer fuzzed our chorus. DJs need doubles!

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Spider Harrison

Beautiful Day

12" | 2019 | EU | Original (Antinote)

Release: 2019 / EU – Original

Genre: Organic Grooves

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Spider Harrison was Indianapolis's first call soul DJ in the late 1960s and early 1970s. He broke local tunes like The Highlighters' "Poppin' Popcorn" on soul-friendly WTLC's clean FM frequency, MC'ed functions with the backing of local funk hopefuls, wrote liner notes for everyone from Billy Wooten to Little Royal and offered business advice to musicians such as The Highlighters/Rhythm Machine bassist James Boone.
Around the turn of 1970, Harrison returned to an old pastime – singing. The Highlighters' manager - and owner of newly formed Lulu records – Jerry Herman approached the jock to record a single. Harrison hastily accepted. Backed by loyal friend Boone and the in-transition Highlighters' rhythm section, Harrison donned a yellow raincoat, got tipsy on Thunderbird and went for broke. The result catches Charles Wright's "Express Yourself" at its funkiest moment, and has earned the jock deserved placement in the deep funk canon.
Not only do we have the original version of Spider Harrison's Beautiful Day but on the flip we have cut a drum track of the record found on one of his tapes. 500 copies only, no repress.

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Nathan Melja

Karibuni Music

LP | 2005 | UK | Reissue (One Little Independent)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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It’s easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980’s dance productions – especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.
On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It’s hard, it’s efficient and at the same time, there’s quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles’ seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and – let’s say it – sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12” is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault – so that you can dry your tears.
It’s Nathan Melja’s first release on Antinote, but he’s definitely not a newcomer. He’s been around since Antinote exists, and we’re glad to finally collaborate with him.

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Björk

OST Drawing Restraint 9

Release: 2005 / UK – Reissue

Genre: Rock & Indie, Electronic & Dance, Soundtracks

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LP | 2019 | US | Original (Rum Bar)

Brad Marino

Extra Credit

20,99 €*

12" | 2019 | EU | Original (Garzen)

Release: 2019 / US – Original

Genre: Rock & Indie

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Brad Marino, singer, guitarist, songwriter, and co-founding member of beloved garage rock n’ roll band The Connection, is about to embark on a journey
stepping into the spotlight front and center on his own. Brad has spent the past year writing, recording, playing every instrument, and producing his
solo full length debut ‘Extra Credit’ with a little ‘extra’ help from his friend Kris Rodgers on the keys and mixing board. What you have is an album filled
with tried and true rock n’ roll with hints of country, stabs of punk, and jolts of power pop, created in the garage. Rockpile meets the Ramones, Mick and
Keef get into a tussle with the Flamin’ Groovies, The Knack gets all tangled up in blue… get the picture? Featuring the lead single “C’Mon C’Mon C’Mon”
which sat atop at #1 on the Indie Radio Alliance’s Secret Weapon Radio for several weeks, along with the power pop punk sweetness of “Broken Record
Baby”, head boppin’ and fist raising of “Fit To Be Tied”, Mick Jagger swagger of “No One Else Tried It”, and the country hearted barroom twang of “What
Comes Naturally”, we can go on and on but we want you to hear this for yourself.

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Xen

Pere Adam

Pat's Rubber Band / Phone Call From The Devil

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Xen is a central figure in the (now not so) new Tel Aviv scene, having fluttered from projects to projects (with Red Axes, with Yovav Arzi or the soon to come Levantines), being herself kind of everywhere she goes, fragile yet strong, as if she was gaining gravity from both the little black hole inside of her and from the Garzen galaxy. These four tracks written and produced with Dori Sadovnik from Red Axes may be the epitaph to Xen are romantic underachiever, her chrysalis. Pere Adam has been a hit (whatever that means these days) with many luminaries such as Vladimir Ivkovic or Ivan Smagghe, pure angst in psychedelic dub.

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Alley Pat

7" | 1977 | EU | Reissue (Everland)

Bison (Holger Czukay of Can & Smith & Mudd)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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One more extremely obscure 7 inch reissue on EVERLAND MUSIC. Originals are impossible to find, so it actually makes sense to me, to make it available again to all the soul and funk collectors and probably new fans out there. Recorded by the legendary Calvin Arnold, the title track is a groovy, simmering hot funk song as funky as it could be. Early 70s sound, although the music was recorded in 1977. The B side contains a kind of spoken word performance, a phone call, as the title tells you. One guy, certainly the band’s singer, answering a phone call talking to someone whom he refers to as “The Devil” or “Mr. Boogeyman”. There are people in the background laughing. A strange track indeed. The A side indeed is a killer tune and worth the few bucks for this great reissue alone. Funk aficionados will grab a copy anyway.This is a great dancefloor sweeper with a hypnotizing structure, beautiful horn section melodies, an ever pulsating groove, commanding spoken vocals and female singers in between. Clever DJs should grab a copy to make their audience go wild. A nifty little obscurity and worth having for fans of music as black as music can be. Great sound, great interplay, steaming hot performance, this tune has everything you would want and is even a memorable effort. It stands the test of time.

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Salmon Sprungcake

12" | 2019 | UK | Original (Claremont 56)

Philty Lies Colored Vinyl Edition

Release: 2019 / UK – Original

Genre: Electronic & Dance

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Claremont 56’s latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell – a regular remixer of Claremont 56 releases since the label’s inception – serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint’s very own “super-group”. The 12” has extra emotional resonance for Bison’s Paul ‘Mudd’ Murphy and Ben Smith, as it marks the band’s first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of “Salmon Spungcake”, a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56’s 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell’s “Zip It Shrimpy Mix” re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band’s original instrumentation – effects-laden guitars, hazy electronics and meandering, deep space chords – float in and out of the mix at irregular intervals. It’s the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the “I Think I’ve Got Gout Mix”, an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track’s rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

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Little Villains

LP | 2019 | EU | Original (Heavy Psych Sounds)

23,39 €* 25,99 € -10%

Release: 2019 / EU – Original

Genre: Rock & Indie

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Uphill Peace Of Mind (Instrumental) / Impeach The President (Instrumental)

The U.B.'s

7" | 2019 | US | Original (Fraternity)

2LP | 1973 | US | Reissue (Pure Pleasure)

Release: 2019 / US – Original

Genre: Organic Grooves

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Nubian Crackers member The Undercover Brother (AKA veteran Queens, New York-based beat-maker Victor Piagneri) fires up his U.B.'s project and delivers another taster for the forthcoming "Ultimate Covers w/Breaks" LP. On the A-side you'll find his instrumental interpretation of Frederick Knight cut "Uphill Peace Of Mind", a heavy, stripped-back revision rich in killer drum breaks, Red Hot Chili Peppers style funk-rock guitars and life-affirming piano solos. Turn to the flip for Piagneri's vocal-free version of The Honey Drippers' 1973 anti-Nixon anthem "Impeach The President". He allows the track's much-sampled opening drum break a little more room to breathe, before carefully layering up Hammond organ riffs and a snaking saxophone solo that effectively replaces the original vocals.

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Clifford Jordan Quartet

Glass Bead Games

49,99 €*

LP | 1973 | UK | Reissue (Pure Pleasure)

Release: 1973 / US – Reissue

Genre: Organic Grooves

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* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London / Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

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Charles Brackeen

Rhythm X

34,99 €*

Creedence Clearwater Revival

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.

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Bayou Country Limited Half Speed Mastered Edition

LP | 2019 | EU | Original (Craft)

42,99 €*

Creedence Clearwater Revival

Release: 2019 / EU – Original

Genre: Rock & Indie

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180g Vinyl LP Reissue Mastered at Half-Speed at Abbey Road Studios

Creedence Clearwater Revival is arguably the definitive American rock band. Hailing from the San Francisco Bay Area and borrowing heavily from the musical traditions of the Deep South, the gritty and powerful foursome served up a potent stew that appealed to a broad audience not just in the States but around the world. Their creative arc was relatively brief yet highly influential, and some five decades after their heyday, their straight ahead raw energy continues to echo in the rock and pop sounds of the modern day.

It was in January 1969 that Creedence released the first of its three Top Ten albums that year, Bayou Country. The product of frontman/songwriter John Fogerty's fascination with Louisiana swamp-rock and R&B, Bayou Country is chock full of classics including "Proud Mary," "Born on the Bayou," the Little Richard cover "Good Golly Miss Molly," the eight-minute plus "Graveyard Train" and the seven-minute plus "Keep on Choogling."

Mastered at half-speed at Abbey Road Studios, benefiting from an exacting process that allows for an exceptional level of sonic clarity and punch, bringing this classic recording a new vibrancy. The 180-gram vinyl LP comes housed in a handsome tip-on jacket replicating the packaging of the original pressing.

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Creedence Clearwater Revival Limited Half Speed Mastered Edition

LP | 2019 | EU | Original (Craft)

43,99 €*

12" | 2019 | EU | Original (Razor-N-Tape)

Release: 2019 / EU – Original

Genre: Rock & Indie

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Creedence Clearwater Revival is arguably the definitive American rock band. Hailing from the San Francisco Bay Area and borrowing heavily from the musical traditions of the Deep South, the gritty and powerful foursome served up a potent stew that appealed to a broad audience not just in the States but around the world. Their creative arc was relatively brief yet highly influential, and some five decades after their heyday, their straight ahead raw energy continues to echo in the rock and pop sounds of the modern day.

The 1968 release of the band's self-titled album paralleled the flowering of the San Francisco music scene, but the CCR phenomenon had little in common with the "San Francisco Sound." The Creedence Clearwater Revival album was anchored by rock and blues standards such as Dale Hawkins's "Susie Q" and Screamin' Jay Hawkins' "I Put a Spell on You," (both of which became immediate hits) as well as original material by John Fogerty, who was to emerge as one of rock's most omnipresent hitmaking songwriters in the years that followed.

Mastered at half-speed at Abbey Road Studios, benefiting from an exacting process that allows for an exceptional level of sonic clarity and punch, bringing this classic recording a new vibrancy. The 180-gram vinyl LP comes housed in a handsome tip-on jacket replicating the packaging of the original pressing.

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Em Vee (Marcel Vogel)

Em Vee Edits

LP | 2019 | EU | Original (Elder Island)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Marcel Vogel aka Em Yee joins the RNT roster with a 4-pack of unsurprisingly heavy edits. The Lumberjacks In Hell label boss takes us on a little trip through one of his own eclectic sets, starting with the oddball boogie of You Move Me and then moving on to the hands-in-the-air positivity of Spreading Energy.
On the flip it’s the up-tempo afro burner 'Don’t Be Sabi Say', with the 12” concluding on the whimsically catchy 'I Wish I Knew The Words'. Tried and tested and found true!

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Elder Island

The Omnitone Collection

21,99 €*

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Collisional Process Volume 1

12" | 2019 | EU | Original (7th Storey Projects)

Love In The Time Of Science

Release: 2019 / EU – Original

Genre: Electronic & Dance

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7th Storey Projects are extremely excited to present Collisional Process Volume 1 - a three track EP featuring tracks from three artists that need little introduction to those in the know.

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Emiliana Torrini

LP | 2009 | EU | Reissue (One Little Indian)

Release: 2009 / EU – Reissue

Genre: Pop

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Grey Area White Vinyl Edition

Little Simz

LP | 2019 | UK | Original (Age 101)

23,99 €*

Chong The Nomad / Stas Thee Boss

Release: 2019 / UK – Original

Genre: Hip Hop

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“GREY Area” continues to cement herself as a prominent artist not only in the UK, but across the globe, with her genre-bending sound and the undeniable honesty of her lyrics. “GREY Area” is a glorious melting pot of neo-soul, deep funk and experimental pop, without neglecting her roots of hip-hop and grime, providing a deeply personal commentary on her own life experiences alongside wider observations in society. Little Simz comes across experienced, free and at times ferocious - navigating through this world with political awareness, intelligence and integrity.

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Love Memo / S'Women

LP | 2019 | US | Original (Crane City Music)

CD | 2019 | UK | Original (Age 101)

Release: 2019 / US – Original

Genre: Hip Hop

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* Two records for the price of one: The solo debut from THEESatisfaction’s Stas Thee Boss backed with EDM star Chong The Nomad’s first EP
* Pressed on 140g spattered vinyl in multiple colors, limited to 750 individually numbered copies
* Reversible cover design by Seattle artist Jennifer Campbell
* Specially mastered for vinyl by Adam Straney / This split LP from Seattle hip-hop label Crane City Music provides two entry points into that city’s flourishing underground hip-hop scene. It’s two records for the price of one! “S’WOMEN” is the highly-anticipated solo debut from THEESatisfaction’s Stas THEE Boss, while “Love Memo” is a runaway EP success from EDM wunderkind Chong The Nomad. Both artists are producers, singers, beatmakers and queer women of color creating distinctive music that expands our very definitions of genre.

Each project has amassed a wealth of accolades and album-of-the-year nods from national and local publications such as Pitchfork, Tom Tom Magazine, Earmilk, The Seattle Times, KEXP radio, and The Stranger. Chicago’s Dusty Groove Records praises the split vinyl, citing “hypnotic, abstract hip-hop vibe, moody beatcraft, insistent beats, and vocal samples... It's solid all the way.” Seattle Weekly calls this release “a perfect pairing.”

Chong The Nomad’s “Love Memo” landed “2018 Record of The Year” acclaim from The Seattle Times, Seattle Weekly, The Stranger and radio stations KEXP and 107.7 The End. In their review, The Stranger praised Chong The Nomad’s techniques of live-sampling ukulele and beat-box harmonica, alongside “heavy funk beats, marbles-scrambling bass frequencies, and torqued distortion… Holy shit.” NYC’s Tom Tom Magazine says that “multi-instrumentalist and producer Chong the Nomad is shaping the future of dance music.”

Pitchfork called Stas Thee Boss’s “S’WOMEN” a “sharp solo debut doused in heartbreak and identity.” She subtitles the record, “an aquatic explanation of failed female companionships.” Most songs are dense 120-second pops. French chefs have a name for their tiny, tasty morsels: “amuse-bouche” or “entertaining to the mouth.” Let’s call these songs “amuse-oreille” because they greatly entertain the ears… They’re little explosions of audio delight.

The first pressing of “Love Memo & S’WOMEN” is limited to 750 individually numbered copies. Every record is a different color with spatter accents.

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Little Simz

Grey Area

LP | 2019 | EU | Original (One Little Indian)

Release: 2019 / UK – Original

Genre: Hip Hop

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Test Dept.

Disturbance

Release: 2019 / EU – Original

Genre: Rock & Indie

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12" | 2019 | EU | Original (Lackrec)

Jonas Palzer

Human Scale

9,34 €* 10,99 € -15%

7" | 2019 | EU | Original (Expansion)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Jonas Palzer returns to LACKRec. with something more bodily than scales and dimensions. Something you've always been interested in but never knew you were. It has to do with proximity and distance, with smaller and bigger things. Little is known about it, but connecting the bits and discovering a hidden mass may somehow make you feel larger, allow you to breath more freely. These five tracks do not lack a human scale.

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Stephen Michael Schwartz

Get It Up For Love