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Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-08

On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality.

Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story.

In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration.

In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.

‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models.

Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk.

But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world.

Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.

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Colours & Light Black Vinyl Edition

LP | 2024 | UK | Original (Mr Bongo)

Release: 2024 / UK – Original

Genre: Rock & Indie, Pop

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If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk. A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion. The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one. Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants. Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings. The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’. Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind. Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

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Colours & Light Magenta Colored Vinyl Edition

LP | 2024 | UK | Original (Mr Bongo)

A River Running To Your Heart Blue & Bone Vinyl Edition

Release: 2024 / UK – Original

Genre: Rock & Indie, Pop

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Fruit Bats

LP | 2023 | US | Original (Merge)

A River Running To Your Heart Black Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson, a first for Fruit Bats, with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms, from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

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Fruit Bats

LP | 2023 | US | Original (Merge)

Tape | 2022 | UK | Original (The Tapeworm)

Release: 2023 / US – Original

Genre: Rock & Indie

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The Howling

All Hail Mega Force

12" | 2022 | EU | Original (Red Laser)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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The Howling is a collaborative project started by writer Ken Hollings and sound artist Howlround devoted exclusively to their shared love of text, audiotape and trash aesthetics. An intense collision of spoken word and analogue tape effects, the Howling's first performance took place at the Iklectik in September 2019 as part of a special programme to celebrate The Tapeworm's 10th anniversary.
Despite the pandemic, they have managed to continue working and conferring together since then, sharing sound files, texts and mixes online, which has resulted in All Hail Mega Force, their first full-length release for The Tapeworm. The two extended tracks contained on this audiocassette reflect their shared interest in Fluxus and how informal rules and permutations can be set up to work themselves out through loops and repetitions. A straight line connects Terry Riley's tape experiments in Paris from the early 60s with their experimental recordings in the Wimpy Bar on Streatham High Road, one of their favourite meeting places. 'The idea of instant, disposable one-off creations appealed to us a lot at the time,' The Howling explain, 'particularly as both pieces were conceived and developed during different phases of Covid lockdown in the UK.'
The title and source material are derived from the kid's adventure movie MegaForce, starring Barry Bostwik and Michael Beck. Designed to sell a range of Mattel hi-tech action toys, MegaForce tanked at the box office but lives on in the collective consciousness of those who share with The Howling a special love for Trash and Trash Aesthetics.
The two tracks also share similarities in approach and realization.
'All Hail Mega Force' was created by reading combinations of the words 'All Hail Mega Force' into a voice memo recorder, transferring it to tape, cutting the whole thing as a single long loop and then stretching it across three reel-to-reel machines simultaneously, using two pencils and a pint glass full of loose change to try and maintain sufficient playback tension. Over time the loop started to degrade, which accounts for the increasingly slurry and unpredictable playback, plus frequent ruptures caused by the tape becoming jammed and having to be tugged through the machine workings by hand. Twenty-four minutes later and the result was a completed new work and a slight backache.
The text for 'Are You Man Enough For Mega Force?' was recorded live in the Wimpy Bar on Streatham High Road, 28 November 2021. It was cut to tape and looped on 3 December 2021 at Warrior Studios, Loughborough Junction. Dragged by motor and then by hand across two tape machines with copious amounts of closed input feedback provided by a third rushing in to fill the gaps. One take with no effects or overdubs, but one tiny edit in the middle when something fell over.

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V.A.

Red Laser Records EP 12

LP | 2021 | EU | Original (Downwards)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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As we emerge into the Now with a fresh perspective and renewed vigour, Red Laser Records usher in a novel epoch of Manctalo movements for our post-COVID enjoyment. Entrusting piloting duties to four well decorated RL commandos, the EP serves to remind us all that despite everything that's happened, we can still find solace in red lasers, smoke machines and high-powered strobe lights.

Splitting open the collective dancefloor inertia is Kid Machine's 'Only Machines Allowed'. A cybernetic b-boy jam straight outta the planet Megoh circa 4044. Guided by electrified vocoder lines and a plutonium-grade, armoured groove this impenetrable battle rocket should issue the much needed power boost to get your body kinetics firing again when they release the e-barriers to hedonism.

Returning star fleet lieutenant Count Van Delicious has been collecting entities from the outer galaxies since his appearance on RL EP 9 ('Dark Fruit' w/ Senor Chugger). Here he announces his return with an end-credits epic, an #inabiteveryoneelse theme from this young vet on a pants-off permo-buzz, up-scrolling through technicolored c64 visuals and deploying his now trademark zoopa-arps, euphoric synth stabs and thunderous low end shudder to deadly effect.

Meanwhile, Ste Spandex continues his cybernetic realignment surgery, dissecting a well circulated disco meme and adding voluptuous gender-neutral enhancements that'll be getting the next generation of androids frisky, despite their lack of reproductive organs. Fizzling synths, spherical repetition and a multi-dimensional mix of high voltage rhythms leaving that vocal line permanently downloaded in your memory cloud. No sharing necessary.

Scottish deep space observer Ernesto Harmon provides some cosmic ruggedness to close off our mission. Reinforced & galvanised low-end rhymix coalescing with humanoid synth expression and an infinite, carbon-free energy source keeping momentum plateaued through the morning after the night before. There's no off switch baby!

For astral travellers seeking solace in the new Now, Ep12 kindly acts as an upgrade to your possibly dormant dancing system as you stumble out into the new nocturnal environment. Hopefully reminding us that the simple act of moving alongside one another in a pitch black, laser-guided club space hasn't changed that much...

Limited press, with artwork which could be the next top selling NFT, we urge our RL family to bag this collectable chronicle from the Red Laser Corp. xx

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Ann Margaret Hogan

Without The Moon

23,99 €*

Dream Hunting In The Valley Of The In-Between

Release: 2021 / EU – Original

Genre: Electronic & Dance, Classical Music

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Hogan’s involvement with new wave, new romanticism, post punk and all-things-avant makes her a uniquely placed character through the last four decades on the scene - her recording/performing biography intersects with everyone from Soft Cell, The The and The Human League through to Simon Fisher Turner, Barry Adamson, The Style Council and more recently with Karl O’Connor aka Regis’ Downwards universe. For ‘Without the Moon’ (a title borrowed from Cathi Unsworth’s book of the same name), Hogan pulls out some of the most satisfying collaborations from her archive, featuring a couple of tracks originally released in 1985 on Cabaret Voltaire’s Doublevision label, as well as recordings that are here issued for the very first time. It’s properly all-over-the-place brilliance, ranging from Nick Cave’s incredible 1983 piano blues slo-mo grind ‘Vixo’ all the way thru to the Paul Kendall (Nitzer Ebb/Depeche Mode) engineered ‘Come Take My Hand’ produced and featuring Barry Adamson and sounding like some vintage Les Disques du Crépuscule poolside obscurity. Opening with ideas mapped out while staying at Lydia Lunch’s gaff in summer ’83, the record lassos 30 years of Hogan’s personal highlights, harking to a time circa 1984 when she regularly caught The Birthday Party playing Leeds or London, often crossing paths with Cave, and right thru to 1989’s ‘Come Take My Hand’. While ‘Delirious Eyes’ is a gorgeous slow dervish of swaying middle eastern scales featuring Gini Ball’s elusive smoke trail vocals, it’s best heard in context of the sequencing, which soon erupts with Marc Almond’s vocals on the arsonist thrill of ‘Burning Boats’ and JG Thirlwell’s signature clangour, while ’Scattered Carelessly’ was written in 2008 and gives the sweetest canvas for Hogan’s keys complemented by a whispering Jarboe ov Swans, and ‘Black Nocturne’ stars a perfectly tempered guitar shimmer by Kid Congo Powers, a longtime accomplice, whom Hogan first heard playing guitar on The Cramps’ records that she played in DJ sets at the time. Illuminated by Hogan’s favoured solo piano, ranging from flickering candlelight to hammering theatrics, and even including a rare appearance of her vocals on the could-have-been-a-popsong closer, the six songs on ‘Without The Moon’ speak to an incredibly rich artistic life spent immured at the core of her practice. Song to song, she outlines an extraordinary oeuvre that ties together and leaps between eras, drawing on decades of experience as a performer, composer, collaborator and ardent listener to portray a full spectra of styles she’s been involved in shaping for decades. Stunning.

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Man Man

Tape | 2020 | US | Original (Sub Pop)

Dream Hunting In The Valley Of The In-Between Loser Edition

Release: 2020 / US – Original

Genre: Rock & Indie

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Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life's extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man's first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. The 17-track effort, featuring "Cloud Nein," "Future Peg," "On the Mend" "Sheela," and "Animal Attraction," was produced by Cyrus Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday's Dre Babinski on "Future Peg" and "If Only," and Rebecca Black (singer of the viral pop hit, "Friday") on "On The Mend" and "Lonely Beuys." The album follows the release of "Beached" and "Witch," Man Man's contributions to Vol. 4 of the Sub Pop Singles Club in 2019. At the end of 2015, Man Man went on an unexpected hiatus, and thus began a period of creative reinvention for Honus Honus. He worked in music supervision and on scores (The Exorcist, Superdeluxe, Do You Want to See a Dead Body?). He acted in the indie film Woe ("I played a park ranger, a nice guy in a sad movie."), So It Goes, a short musical film with Mary Elizabeth Winstead, and starred in the award-winning tour documentary Use Your Delusion. He also developed an animated series, wrote film scripts, a graphic novel, a neo-noir TV pilot, and briefly penned a music column for The Talkhouse all while continuing to work on new music, such as an unreleased kids' record, another Mister Heavenly album, a self-released Honus Honus record, and a conceptual art/noise project Mega Naturals. In the midst of this surreal exile from Man Man, Honus began piecing together what would become Dream Hunting in the Valley of the In-Between. He recruited longtime-collaborator Cyrus Ghahremani to help him produce. Written in a friend's LA guesthouse that had "an old upright piano, a thrift store lamp, and nothing else," it was an arduous, three-and-a-half-year process, "I had chord progressions that looked like chicken scratch and lyrics on pieces of paper stuck all over the walls. It looked like I was about to break the big case, catch the killer," he says, laughing. "There was a lot of self-doubt, fighting the urge to throw in the towel. It wasn't fun but it definitely forced the best album of my career out of me. Sometimes you just gotta tear it all down to rebuild things the right way. Trust the process."

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Man Man

2LP | 2020 | US | Original (Sub Pop)

Dream Hunting In The Valley Of The In-Between

Release: 2020 / US – Original

Genre: Rock & Indie

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Man Man

2LP | 2020 | US | Original (Sub Pop)

LP | 2018 | EU | Original (Hip Hop Enterprise)

Release: 2020 / US – Original

Genre: Rock & Indie

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Maylay Sparks

Hood Thrill Hunters

23,99 €*

2LP | 2018 | EU | Original (Melting Pot Music)

Release: 2018 / EU – Original

Genre: Hip Hop

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This newly formed trio composed of Philly Hip Hop Legend ”Rahsheed aka Maylay Sparks”, newcomer “Chukk Rukkuz” and rapper/producer “K-Sluggah” from the squad known as Muddy Fatique, have joined forces to form the “Hood Thrill Hunters”. This 10 track urban reprise was entirely produced by Karl “K-Sluggah” Frigyes and is a must have!

K-Sluggah, an MC and beatmaker whose origins lie in the city of Malmö in Sweden, is part of the Muddy Fatique collective that’s revered in Sweden for sharp rhymes over rugged beats. In 2007 K-Sluggah started taking his beat-making craft more serious. His preferred weapons of choice are the classic beat machines ASR-10 and MPC 2500 and of course some dusty old records to go along. The result is a production style which is sample based, soulful, rugged and raw. He has released numerous projects with his ”Muddy Fatique” partners both behind the mic and behind the boards. On this particular project K-Sluggah exibits his talents by composing some of the illest breaks, tripped out bass lines and synth tones with the help of Jack Winge, studio aficianado and bass player, who also contributed to the 2013 release ”Spit On It”.

Last year he released the LP “Twin Cannons“ with NY rapper John Jiggs which was very well received in the underground circuit. He also has notable past work with Hus kingpin, Maylay Sparks, Granddaddy I.U, Mykill Miers, Tha God Fahim, Mach Hommy, Rozewood, Monsta Mook and Shady Records signees Westside Gunn & Conway.

Maylay Sparks delivers as usual, with his trademark dynamic, swift, and descriptive delivery over broken melodies, accompanied by riffs ranging from Balkan jazz clips to 70’s Vietnamese soul. His counterpart Chukk Rukkuz, whose fierce and aggressive flow with a hint of the golden era style cadence, is the perfect match for every selection. Features include John Jiggs, Rucker P.A.W.K, and Rocc Spotz (now known as Rocc Boogie) who is yet another heavy hitter from the Muddy Fatique team. The music is accompanied by the precise turntable assistance from Italy’s finest and most respected DJ, Bassi Maestro.

The artwork is a very personal touch, it's the Avenue Maylay Sparks grew up on as a kid during the 70's in Philly and it’s actually a cartoon of an actual picture.

As an added bonus the elpee will include an extra track, an insane posse cut that will feature Conway the Machine to close off the project. Limited to only 300 copies!

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Summers Sons & C.Tappin

Uhuru

25,99 €*

2LP | 2015 | UK | Original (Late Night Tales)

Release: 2018 / EU – Original

Genre: Hip Hop

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Debut album by UK trio following their “Undertones” EP on Meltin Pot
Music, the label that brought you Twit One, FloFilz, Suff Daddy, Brenk
Sinatra, Dexter and others!
"Uhuru" is the debut album by Summers Sons & C.Tappin from London and Bristol.
The journey of this album started back in 2015 and was inspired by the people and
places of Tanzania. After three years of channelling the vibe into beats and bars, it is
finally here!
Summers Sons are Turt (rap) + Slim (beats) who are actually brothers. They are
longtime friends with vocalist and pianist C.Tappin. Their music can be described as
rap with a lot of jazz. We like to call it cool bap.
Turt first got into hip-hop through Grime but also cites UK wordsmith Jehst as a
major influence. Slim was doing UK Garage for a while, when his brother asked him
for some more chilled beats to rap to. Tappin came up in a musical family, picked up
the piano as a kid and played in indie bands.
With such diverse backgrounds Summers Sons and C.Tappin are not your average
rap group. They would actually rather name their crew a band. Which makes total
sense when you catch them live. Slim slices up the beats on his SP404. Tappin gets
busy on the keys and adds vocal harmonies while Turt holds down the vibe on the
mic, spitting lyrics with a message.
Still only in their early twenties Turt, Slim and Tappin are somehow old souls when it
comes to music. If you listen to "Uhuru" you are unmistakably reminded of the
Soulquarians school of fusing hip-hop, soul and jazz. Follow the Sons' "Road To
Uhuru" playlist on Spotify and you are treated with gems from D'Angelo, Dilla, Badu
and Bilal back to back with new UK Jazz tunes from Alfa Mist or Ezra Collective.
Rounded up with a selection of dusty beats from German beatmakers like Hubert
Davis and Twit One. On their own songs Summers Sons and C.Tappin are
connecting these dots in their very own style and fashion.
While Slim had already released beats on Banoffee Pies and Brownswood, Turt and
Tappin made their official debut on the "Hay Luv" album by Twit One , who they had
met when he played a DJ gig in Bristol some years ago. With the release of the
Summers Sons' "Undertones" EP on MPM in early 2018 the London - Cologne
connection became official. The six tracker introduced the sound of the Summers
and Tappin to a bigger audience and included remixes by FloFilz and Twit One.
Now get yourself ready for "Uhuru" ! To learn more about the album we recommend
the liner notes: We’re all as simple complex as the next man. No one really comes
correct with a set plan. It’s all guesswork. Feet stepping, Keep checking with my
head first.

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Jon Hopkins

Late Night Tales

36,99 €*

LP | 2024 | UK | Original (Blackford Hill)

Release: 2015 / UK – Original

Genre: Electronic & Dance

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Unmixed Double 180 gram Vinyl (Includes download code to the Jon Hopkins mix and full unmixed tracks as wav/mp3)

Requiem for a dreamstate. It’s possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins’ world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he’s gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

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Sam Annand

Cupar Grain Silo

21,99 €*

Trapped In A Parking Garage

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-08

'Cupar Grain Silo' is Sam Annand's first release on the Blackford Hill label. Its nine tracks blur the lines between ambient electronica and sonic history, as synthesised melodies and rhythms reverberate through the extreme acoustics of the disused Cupar Grain Silo in Scotland. Built in 1964 as a sugar store, the silo towers 60 metres above the surrounding Fife countryside. Its industrial life was short: in 1971 it was closed, and barring a short period as a grain store, remained empty for decades.
In 2014, Sam Annand was given access to the silo as part of the Resono project, set up to study a series of highly reverberant locations across Scotland. The ambitious industrial architecture of the Cupar Grain Silo has given the space a reverberation time of 36.5 seconds. This measurement describes the time a sound takes to decay or 'fade away' in a closed space. To put this in perspective, the Cupar Grain Silo reverb time is around three times longer than that in cathedrals like York Minster and St Paul's.
"The acoustics are immediately noticeable when climbing the ladder into the main chamber", Sam says. "The sound of your voice begins to circle around and above you, inviting you to shout, clap and bang objects to excite the space into revealing its intimidating architectural voice."
Sam began to experiment with musical compositions which responded to the unique acoustics of the silo space. He used impulse responses – a short, sharp sound like a gunshot – to record these acoustics, allowing him to experiment with the silo's reverb in his production. Sam's compositions were performed using a modular synth system, a Roland Juno-6 polyphonic synthesizer and a bowed ride cymbal.
"Chords can be constructed in time by hanging successive single notes in the air," Sam describes, "The flutter echoes from the immediate cylindrical walls can be used to create bursts of scattering spatial imagery and harmonic blooms, following short percussive moments."
Originally recorded on 21st May 2016, 'Cupar Grain Silo' is now released on 12" vinyl with an accompanying booklet of imagery and essays. The compositions are at once true to the unique architectural acoustics of the silo whilst also being playful and experimental with the creative possibilities it offered. Arpeggiated melodies ebb and fall across extended call-and-response shapes formed by the silo's reverb; modular drum patterns crackle like dying machinery; whilst bowed drones waver and wash over.
"We all love reverberation," reflects Prof. Peter Stollery, Professor of Composition and Electroacoustic Music at the University of Aberdeen, on the project. "As kids, we play in it – yelling in forests and caves, surreptitiously dropping objects in huge churches – mouths wide open at the lingering smears of sound which come back to us."
In 'Cupar Grain Silo', Sam Annand has harnessed the extraordinary acoustics of the disused silo to tap into this sense of joy and amazement that reverberation can bring.

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Citric Dummies

7" | 2024 | US | Original (Feel It)

17,99 €*

Joe Gittleman / Bad Operation

Release: 2024 / US – Original

Genre: Rock & Indie

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"Jeff Goldblum takes a deep breath and initiates the teleportation sequence, unaware that lurking in the corner of the telepod are three greasy eighth grade boys quoting their favorite lines from Kids In The Hall sketches. The sequence initiates; a crack of static; a horrible flash of white hot light. Dramatically backlit and shrouded in fog, what emerges from the adjacent telepod is not so much man-child as teenage lobotomy. The camera jumps to a tight shot on the receding hairlines of three dumb assholes: “Look out world…” they whisper with an off-putting wink into the camera. “I’m eatin’ Arby’s.”

This is the Citric Dummies and that is a reference to their song lyrics! Yes, you do not have to ask: this shit is dumb. Lyrics like “I'm driving a piece of shit because I am a piece of shit” dumb. I hear fear in their voices: this is both a reference to Lee Ving’s phlegm and the fact this band is naked and lost in a parking garage, “A traffic cone used for modesty (It’s not a giant orange dick, you see)”. But unlike Fear, this band does not hate you, for they are too busy hating themselves. “Fuck you!” you yell at them, and they know why.

When you see these Citric Dummies (and oh, you simply must!), you will notice their jackets—matching in satin, unique in color. A bassist in green satin, like a lime, and bald (not unlike a lime…). Guitarist? In lemon yellow; he has a regular amount of hair. And that drummer on the drums, the one with the most hair of all? Orange! What we have here is a band who visually tastes like an orange 7Up if such a dumb thing were a thing.

And this band plays: fast! Fuck! Live, it’s fast-as-fuck-oh-fuck-this-is-fast. Dean Dirg is there playing fast, and The Hives, because we love the Hives and know their roots are of the same raw Swedish garage milieu as the Hellacopters and Henry Fiat's Open Sore. “It’s too rock ‘n roll for hardcore, too hardcore for rock ‘n roll,” you may say (because you yourself may be dumb). Is this what is called…punk? Yes! That’s it! Maybe this is punk, you dumbass.

Oh no! I’ve forgotten the best part of all! You don’t have to just read about the Citric Dummies, you can hear the Citric Dummies. You can even have the Citric Dummies!—on a new 4-song 7” out on Feel It! And I forgot the other best part of all! They are soon touring Europe with Erik Nervous! So rock over London, and rock on Chicago, because Citric Dummies are a band from Minneapolis, and I don’t care who knows it!"—Brendan Wells

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Wavebreaker #4

LP | 2023 | US | Original (Bad Time)

23,99 €*

A Field Guide To The Void

Release: 2023 / US – Original

Genre: Reggae & Dancehall

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Mighty Mighty Bosstones Legend JOE Gittleman Meets Rising SKA Stars BAD Operation FOR A NEW Split Available ON Electric Blue Vinyl For nearly 40 years, Joe Gittleman was the heart and soul of The Mighty Mighty Bosstones, easily one of the most beloved and influential ska bands in the world. Although the band suddenly parted ways in 2022, Joe had no intention of also parting ways with making music... quite the opposite. With the help of some friends like Bosstones’ saxophonist Leon Silva and original Big D & The Kids Table guitarist Sean Rogan, Joe has come roaring back with a collection of solo material that rivals that of anything in his extensive and storied catalogue but is somehow also imbued with an extremely modern, fresh, and positive energy. In Joe’s mind, nothing could be more refreshing than pairing his new work with one of the most exciting bands to have hit the ska scene in years. BAD Operation released their debut record in 2020 and instantly turned the ska scene on it’s head. Combining two-tone ska with both traditional and punk elements, the band coined the term NEW Tone to describe the new paradigm they were spearheading in the ska community; one that saw the music evolving creatively, while simultaneously returning thematically to the socially consicious, progressive, and political roots of the genre. Their songs felt entirely original, but contained enough throughlines to the various iterations of ska that every generation could agree that they were doing something extremely exciting. Now, for the first time since their debut, BAD Operation is back with new music that takes their sound and style to the next level. When Bad Time Records asked who they would want to do a “Wavebreaker” split with, the question was answered the moment BAD OP learned Joe Gittleman was working on new material. Stylistcally and thematically, this is a pairing that could not be a better fit. Joe has paved the way for progressive ska music for his entire career, and the influence on BAD Operation is clear from the moment the drums kick in on “What Keeps Us Moving”, or the way the bass leads you into the extremely fun “Grandma’s Car”. Joe’s lead track “Carrie O” grabs you right away with an electronic dancehall beat (right away nodding to the evolving modern ska sound), before launching into a danceable ska punk tune that will have enough recognizable elements to please any of his long time fans. The single most important element that links these two artsists together? Joy. A joy for making ska music, and relishing the medium for everything it can offer. You can hear the love bursting out of these tracks, and even when the subject matter turns difficult you know they are facing reality with an outlook that has love for their fellow human. This is a truly special release, and one that will certainly go down as a hallmark moments in ska’s storied history.

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Legowelt

3LP | 2024 | EU | Original (Clone Jack For Daze)

Hermit In A Rave Cave Part 3

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-08

Legowelt returns to Clone Records with yet another sonic journey that defies conventional electronic music boundaries, offering an album that is as eclectic as it is immersive. Blending different styles and textures seamlessly and proving that electronic music can still be creative and that function doesn't always prevail style. He delivers a collection that transports listeners through a kaleidoscope of retro-futuristic sounds, deep grooves, and cosmic melodies. Despite being in the music game for more than 25 years the music from Danny Wolfers remains playful and refreshing. Stylistically taking elements from his whole musical career and not commiting to the latest trend or any genre specifically, and low-key taking the piss with everyone who takes themself to seriously. While many electronic music artists are stuck in their own void, busy pleasing the big room, Legowelt meticulously crafts rich textured soundscapes, balancing between cosmic exploration and the dancefoor, that evoke both nostalgia and futuristic visions. His ability to fuse elements of house, techno, disco and electro with cinematic influences results in an album that is not only ready for club use but also gratifying at home. Each track offers something unique--whether it's the hypnotic rhythms, the lush synth lines, or the subtle, eerie undertones that creep in unexpectedly. Legowelt's attention to detail and passion for his craft shine through, making this album a worthy follow up to his last album on the Clone Jack For Daze series.

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Hermit In A Rave Cave

12" | 2024 | EU | Original (Clone Jack For Daze)

12" | 2015 | EU | Original (Clone Jack For Daze)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Part 3 in Legowelt's latest project "Hermit in a Rave Cave". Even lower slung house tracks with a twist from the unpredictable and unparalleled brain that roams the dunes of the Hague. Also responsible for Salamandos, Squadra Blanco, Polarius and a swath of other mysterious aliases.

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DJ Haus

Helta Skelta

10,99 €*

Release: 2015 / EU – Original

Genre: Electronic & Dance

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DJ Haus goes a little freaky on the Helta Skelta EP. This 4 track ep show his strangely funky side with some odd and jerky rhythms and melodies. It takes it ques from the windy city but doesnt hide DJ Haus's roots in the UK with a bleepy techno twist and pirate radio energy.

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Suede

Autofiction

36,99 €*

Genre: Rock & Indie

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12" | 2023 | EU | Original (Clone Jack For Daze)

Byron The Aquarius

Ep1

11,89 €* 13,99 € -15%

12" | 2013 | NL | Original (Clone Jack For Daze)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Classic jacking tracks by Byron the Aquarius on Clone Jack for Daze. A 6 track ep that will make you dance till your numb. A big booming sound system in a dark room filled with big artifical clouds from the smoke machine, rattling drum machine with pulsating basslines, the hypnotizing lights from the strobe and you've entered the Land Of Confusion! Thats all we need to have a good time. Byron hits exactly that sweet spot with his take on the classic stripped down jack tracks.

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Roman Flügel

Even More

18,99 €*

12" | 2013 | DE | Original (Millions of Moments UK)

Release: 2013 / NL – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Marbled gold vinyl.

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KingThing

Unity EP

5,99 €*

Release: 2013 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

12" | 1999 | UK | Original (SUB-lime Records U.K.)

Alan Thompson

Feel Real Good

3,99 €*

Release: 1999 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

LP | 2022 | EU | Original (Warner Music UK Ltd.)

Heather Small

Colour My Life

Release: 2022 / EU – Original

Genre: Pop

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Used Vinyl

Medium: Mint, Cover: Sealed

7" | 2022 | EU | Original (Plant Age Digital Sound)

Terekke

2 The World / Fandn

13,99 €*

Release: 2022 / EU – Original

Genre: Electronic & Dance, Reggae & Dancehall

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Used Vinyl

Medium: Near Mint, Cover: Generic

12" | 2011 | NL | Original (Clone Jack For Daze)

Murphy Jax

Kevin Spacy

7,99 €*

Deca Record Store Day 2024 Colored Vinyl Edition

Release: 2011 / NL – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

Vinyl is close to VG+!

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Per Se

LP | 2024 | JP | Original (Dystoland Limited / Ac045 Md)

45,59 €* 56,99 € -20%

Terrapath Eco-Mix Vinyl Edition

Release: 2024 / JP – Original

Genre: Pop

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Poetic POP Music DUO per se by Stephen Mok and Sandy lp, who debuted in 2013 and are popular in Hong Kong as a representative of Cantopop. "deca", which was released as a monumental EP to celebrate the 10th anniversary of its debut in 2022, will be released on RSD 2024 as a limited edition split colored vinyl, including the bonus track "The End of Love (Japanese version)”! A 45 rpm high-quality lacquer cut by Tohru Kotetsu (jvc Kenwood Creative Media), who is known as one of Japan's legendary mastering engineer.

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Plantoid

LP | 2024 | UK | Original (Pias/Bella Union Uk)

31,99 €*

Release: 2024 / UK – Original

Genre: Rock & Indie

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CD | 2022 | EU | Original (Repertoire Records (UK) Ltd)

Colosseum

Restoration

Release: 2022 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: VG+

Joan Armatrading

Not Too Far Away

Genre: Organic Grooves

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Slash

Genre: Rock & Indie

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Donny Osmond

Start Again

Genre: Pop

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Hockey Dad

Dreamin'

Genre: Rock & Indie

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LP | 2016 | Reissue (Bmg Rights Management (Uk))

Hockey Dad

Boronia

Release: 2016 / Reissue

Genre: Rock & Indie

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Hockey Dad

Blend Inn

Genre: Rock & Indie

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The Shires

Good Years

Genre: Rock & Indie

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Feel Good & Whatever Tomorrow

Chet Faker

7" (Bmg Rights Management (Uk))

34,99 €*

Genre: Electronic & Dance

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West Bank Songs 1978-1983: A B

The Undertones

2LP (Bmg Rights Management (Uk))

42,99 €*

Genre: Rock & Indie

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2LP (Bmg Rights Management (Uk))

Groove Armada

Edge Of The Horizon

34,99 €*

Genre: Electronic & Dance

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12" | 1994 | UK | Reissue (Isla)

Off And Gone

Dr. Orlando Owoh And His Young Kenneries Band Black Vinyl Edition

Release: 1994 / UK – Reissue

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Reissue of the 1994 debut from Phil Western and Dan Handrabur's 'Off & Gone' project. A hallucinating document of the pair's initial jam sessions and what would become the genesis of a fruitful collaboration between two key members of the West Coast electronic music scene of the 90s/00s. Four tracks of deep, psychedelic techno, including the now-classic 'Namlohssa'. Re-mastered from the original DAT tapes. From Dan Handrabur [Dreamdoktor, Shukar Collective & 1/2 of Off & Gone]: I met the late Phil Western in the fall of 1992 on a visit to his record store, Oddysey Imports. There was always good music playing there, so I ended up hanging out for many hours, almost every day. It was very clear we had similar taste in music, be it the new electronic wave at the time or older music like Eighties British guitar pop, and vintage rock, not to mention ambient and world beats. A mutual friend, Robert Shea [Map Music/ Discotext], suggested we get together and jam; there was a trend going on to bring one's favorite synth to a buddy's studio and tweak knobs. We ended up making a couple of tracks which we showed Robert, a man with many connections in the new music business, by that I mean independent, forward-thinking labels from around the globe. His reaction encouraged us to release them. At the time, I was working on making a CD of my own music and tracks I had made with other tech- heads. Somehow the two cuts fitted quite well into the vibe of Outersanctum's "Frequencies From The Edge Of The Tektonic Plate" which we released in April of 1993. Sensing the possibility of a collaboration, we decided to move my equipment to Phil's place [he lived in a more permissive part of Vancouver where it was ok to work at a louder level]. Armed with two Atari 1040st with midi and various synths, samplers, and drum machines, we started crafting what was to become our most important body of work of the mid-nineties, Off and Gone, Floatpoint and others. After a visit to Lopez island where Mike Kandel [1/2 of Exist Dance] had his studio, the three of us decided on the name [Off and Gone] and set a release date for our first EP. Needless to say, we were ecstatic about it since we were both very fond of the music Exist Dance was releasing. This was the incentive we needed and also a psychological push to work on more material. Our sessions were lengthy; there was not much talking and a lot of playing. Programming in Notator (now Logic Audio) was tedious but rewarding; mixes were tracked to DAT tape. Some gear without memory had to stay on for days until we were satisfied with the mixes. Occasional overheating and power outages were our biggest enemies and guests to the studio who carelessly pushed keys on synths, thus ruining arpeggios... We never used limiting or compression. We didn't own any of that gear, relying solely on the power of our sound generating devices. No audio editing was available back then, at least not to us. A few times, we snuck into Skinny Puppy's studio to play with their Pro Tools rig and track guitars and violin through the Eventide, which we resampled and used in tracks. At the time, we had the feeling of doing something important for the Vancouver electronic music scene, inspiring other musicians to build studios and strive to create new, interesting music, away from the industrial sound that defined the city for several years, for which we had the utmost respect. All the music we made together was purely for the joy of sound creation and a sincere love of dance and ambient music; without any desire for affirmation or commercial success. Throughout our relatively short but productive collaboration, there was a feeling of completing each other's ideas very easily, without arguments, in an almost telepathic way, something I personally have never experienced again with another musician.

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Dr. Orlando Owoh

LP | 2023 | US | Original (Tidal Waves Music)

17,99 €* 19,99 € -10%

It'll All Be Over Opaque Maroon & Transparent Yellow Vinyl Edition

Release: 2023 / US – Original

Genre: Organic Grooves

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A household name in Nigeria, Dr. Orlando Owoh enjoyed a durable popularity that has cut across generational lines in his home country and beyond. Leading groups such as the Omimah Band and the Young Kenneries, Owoh remained popular even as Nigerian tastes shifted to the newer Juju and Fuji styles! Before this transition, the hot style in Nigeria and Ghana was called Highlife. It developed from a traditional Yoruba genre called “palm wine music”, overlaid with danceable guitar rhythms, and, in the hands of many musicians, it also contained a strong element of Trinidadian calypso. Owoh combined this aesthetic with a traditionalist spin on things to make his own brand of excellent sound. His story, like that of many musicians, is a progressive journey in which we can see his choice in musical trends shaping in response to the events in his life. He travelled far in the music world before his passing in 2008 and is remembered to this day even outside of his devoted Nigerian fans. Dr. Orlando Owoh left us with a musical legacy spanning over forty years and he became one of the leading proponents of highlife music with over 45 classic albums to his name, including many hit singles. Owoh played drums and sang with the Kola Ogunmola Theatre Group (one of the most prominent ensembles in the country) when Queen Elizabeth visited Ibadan, Nigeria, in 1956. Performing with several bands, Owoh realized that music in West Africa was developing in a new direction and started taking lessons on the electric guitar. Owoh notched several hits in Nigeria in the 1960s, but his career was slowed between 1967 and 1970 by the country’s civil war. Owoh fought for the Nigerian government against the country’s Biafran rebels. After the war he recorded a major hit called “Oriki Ilu Oke,” and his fame spread to Nigerian expatriate communities. In 1972 he played in London, England and went on to play shows for large audiences featuring South African legend Miriam Makeba. After receiving a doctorate degree in music he was known as Dr. Orlando Owoh. In Owoh’s music, the sophisticated Caribbean-style horn arrangements of Highlife were deemphasized in favor of Owoh’s guttural voice, guitar, percussion, and down-to-earth lyrics. Owoh’s grassroots take on Highlife music and provocative lyrics led him into political realms in the turbulent Nigeria of the 1980s. Orlando Owoh entered each of his decades of performing with his prowess and popularity undiminished. Heard today, his music sounds distinctly more traditional than that of other Highlife bands and strongly evokes the music’s rootsier base. He also generally remained true to the small guitar-band format of Highlife, rather than adapting his style to the huge, kinetic ensembles. He sang mostly in Yoruba, but recorded music in English on occasion. His recordings, like those of other African musicians, consisted of long, dance-suitable medleys of connected pieces; they gave only a small slice of what would occur during an actual Owoh performance, which might last all night. Dr. Orlando Owoh left his mark on the world in multiple ways. To Nigerians and Ghanaians, he will not be forgotten for his contributions to their culture, and his reinvention of existing genres and trends. To the political world, he will not be forgotten for how he stood against the establishment. And of course to the music world, he will never be forgotten for how he united the planet under songs that Africa should be proud of. Like a proud canary, his songs elevated the world to a height that can never leave us. The album we are presenting you today (Dr. Orlando Owoh And His Young Kenneries from 1977) comes swinging right out of the gate with a set of no less than Nine monster tunes. Expect nothing less than some of the best traditional Juju, Yoruba and highlife tracks that will leave you captivated from start to end. This is a quintessential record that every serious collector or fan needs to have in his/her collection. Originally released in 1977 on Decca Records Nigeria, Tidal Waves Music now proudly presents the first official reissue of this seminal album. This is also the first time the album is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip and featuring the original artwork.

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The Supreme Jubilees

LP | 1980 | US | Reissue (Light In The Attic)

19,99 €*

2LP | 2021 | US | Original (Dead Oceans)

Release: 1980 / US – Reissue

Genre: Organic Grooves

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New LP Color Edition pressed on opaque maroon & transparent yellow wax
First ever LP reissue

Liner notes by Jessica Hundley interviewing the band, plus rare archive photographs
LP housed in an expanded gatefold jacket
If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. “We won’t have to cry no more,” the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. “It’ll all be over.” Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two families: brothers Joe and Dave Kingsby plus Dave’s son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price–who belonged to neither family–completed the line-up that recorded the group’s first–and, prophetically, only–album, It’ll All Be Over.

Released in 1980 on the group’s own S&K (Sanders & Kingsby) label, It’ll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it’s a feel captured by the album cover–a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, “both apocalyptic and seductive.”

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group’s requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs–one side of the album–and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album’s title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did.

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbecue in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

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Khruangbin

Mordechai Remixes

LP | 2024 | UK | Original (Time Capsule)

Release: 2021 / US – Original

Genre: Organic Grooves, Electronic & Dance

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“The art of the remix has been around for several decades, from the fervid imaginations of JA pioneers like Coxsone Dodd, Duke Reid or King Tubby to the disco enthusiasts of New York, such as Tom Moulton, who bequeathed us the modern iteration of the remix and provided a template from which most remixers still work. Moulton's first commercial remix, a reworking of BT Express' appropriately-named `Do It 'Till You're Satisfied', which stretched it from three minutes to a luxurious five, assisted the band in securing its first Billboard R&B Number One, as well as providing a pathway for remixers like Walter Gibbons, Larry Levan, Richie Rivera and Tee Sott, to completely reinvent the concept of a remix (and in some instances, deconstructing the idea of what comprised a song). It has subsequently been used as a marketing tool, a dancefloor-devastator, a gimmick (both cheap and expensive) or even as a way of reaching a different audience (think Tori Amos' `Professional Widow'). Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. "We write our music to be interpreted; this is another wonderful interpretation of the music," reassure Khruangbin. "There is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves." The choice of remixers for this album is neither arbitrary nor accidental. They're not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled `White Gloves' on a recent mixtape, Natasha Diggs and Soul Clap's Eli's are recent buddy-ups, Quantic is a mutual friend of Bonobo (crucial in the KB origin story), while I've known Laura for number of years; plus she is also godmother to one of Felix Dickinson's kids. Doesn't get much more intimate than that, right? Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on, wearing fashionably loose clothes. The choice is yours. But all were made with love and respect for Khruangbin. "A good remix deconstructs, recontextualizes, or simply extends a good time," say the band. Amen and out." - Bill Brewster

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Izumi "Mimi" Kobayashi

Choice Cuts 1978-1983

Release: 2024 / UK – Original

Genre: Organic Grooves

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A luminous soul with an indefatigable love for music, few artists have had careers as varied and successful as Izumi ‘Mimi’ Kobayashi. One of Japan’s leading jazz-funk pianists, she wrote and recorded cult albums with fusion legends at home and abroad. Obsessed with new electronic instruments, she penned some of the country’s most well-known TV themes and pioneered the use of drum machines in anime soundtracks.

A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings made at Prince Fatty’s studio.

Choice Cuts 1978-1983 collects eight recordings from four of Mimi’s first five albums – Sea Flight (1978) recorded with her group Flying Mimi Band, and Coconuts High (1981), Nuts Nuts Nuts (1982) and Tropicana (1983) under her own name.

The compilation opens with a syncopated electro-funk cover of Sergio Mendes’ iconic ‘Mas Que Nada’ (Tropicana) and the crisp and stripped back techno-pop of ‘Coffee Rumba’ (Nuts Nuts Nuts) with a keyboard bass line that would have made Stevie Wonder weep.

Alongside the off-beat synth jam ‘Quiet Explosion’ (Nuts Nuts Nuts) and piano samba of ‘Espresso’ (Tropicana), there’s space for two low slung soul-jazz numbers, ‘Naze’ and ‘Angel Sky’, from Sea Flight (1978) that recall the collaborations between Herbie Hancock and Kimiko Kasai. But it is around the two tracks from Mimi’s 1981 album Coconuts High that this compilation revolves (and from whose cover shoot it borrows).

Released on legendary guitarist Takanaka’s Kitty Records label, Coconuts High was recorded in LA with a backing band of jazz fusion icons, including Alex Acuña, Abraham Laborial, Harvey Mason and the Tower of Power horns. A riot of playful Latin-tinged jazz, funk and fusion with the off-beat spirit of Kid Creole & and the Coconuts, the album became a cult hit, attracting huge sums on the resale market. Here it’s the sultry, Minnie Riperton-esque ‘Crazy Love’, with its addictive groove and bittersweet melodies that makes the cut, alongside the steel drum-infused carnivalesque bounce of ‘Palm St’.

Capturing a highly creative and prolific moment in Mimi’s career, Choice Cuts 1978-1983 will introduce the idiosyncratic energy and playful verve of this under-the-radar pioneer to a wider audience for the first time. Welcome to the world of Izumi ‘Mimi’ Kobayashi. Once you enter, you won’t want to leave.

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LP | 2022 | UK | Original (Mr Bongo)

The Children Of Scorpio

22,99 €*

12" | 2024 | UK | Original (Central Processing Unit)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Good things come to those who wait. The album 'The Children of Scorpio' by Project Gemini aka Paul Osborne is a result of his steeped 30-year musical journey that’s seen him dig deep, study his record collection and re-emerge to fine-tune his craft.

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio’ was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi’ and Luis Bacalov’s 'The Summertime Killer’, to name but a few. You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there’s also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks.

A bass player and musician since the age of 16, the arrival of his first child in 2010 saw Paul move away from live performance and retreat to his home studio, recording a wealth of music that was destined to never be heard. One of the first tunes to be made was a demo entitled ‘The Children Of Scorpio’, inspired by his long-time obsession with Lalo Schifrin’s soundtrack to violent Clint Eastwood cop classic 'Dirty Harry'. Recorded for fun, the track was fated to sit in the archives untouched. However, like a phoenix rising from the ashes, connections to a wealth of inspirational musicians and labels would re-ignite Paul's musical fire and give him the impetus to develop his slept-on ideas into something more concrete. Firstly resulting in releasing two limited 7'' records on Delights Records and now the long-player for Mr Bongo.

Assisting in the recording of the record were several close friends that have helped spark Paul's musical creativity along the way, including well-renowned guitarist and Little Barrie frontman Barrie Cadogan (who contributes killer six-string guitar to four tracks), Delights Records head-honcho Markey Funk (who adds spooked out keyboards to ‘Path Through The Forest’), Kid Victrola, the chief songwriter and guitarist with French psych girl group Gloria who added wild 12-string to ‘Scorpio’s Garden’, Haifa-based multi-instrumentalist and producer Shuzin who brings the heat behind the drum kit, and Paul Isherwood, co-founder of Nottingham’s The Soundcarriers, who mixed the album on his wealth of vintage gear.

We are delighted to be releasing this slowly-brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

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Karsten Pflum

Liars

12" | 2023 | UK | Original (Arkada)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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In a convergence of two of the most celebrated names in contemporary electronic music, Karsten Pflum steps out on Central Processing Unit with the Liars EP. As anyone who has followed either Pflum's work for labels such as Worm Interface/Furthur Electronix or the Sheffield imprint's recent run of top-quality electro joints will have expected, this coming together proves to be a match made in heaven.
What we have here is a tour de force of modern machine music. With Liars, Pflum achieves that rare feat of making something that is at once boundary-pushing yet also thrillingly immediate, his attention to detail shining through with each well-placed snare hit or leftfield structural choice. Equally apt for home listening or dancefloor deployment, Liars is a delight for heads and hedonists alike.
Constantly evolving while also cleaving to a relentless groove throughout, opener 'wan1' is a brilliant scene-setter for Liars. The track slinks between sections of seething post-Drexciyan acid and eerie vignettes which balance out haunted house synth licks with the sort of punishing bass blasts that recall early grime classics like Youngstar's 'Pulse X'. A sly shift of key halfway through the track only serves to redouble 'wan1's restless brilliance.
After 'wan1', 'lola' represents something of a gear-switch. The track's wiggly opening bassline is a red herring - make no mistake that we're fully into braindance territory on this one, the drums skittering across the mix as Pflum fills the track out with jungle-adjacent delays and softly insistent synth pads. As 'lola' goes on, blurts of synth and some stiffening in the drum work pushes the track into pure rhythm workout territory.
First B-side 'mousfolk' somewhat splits the difference between Liars' A-sides. This track has 'wan1's unyielding stomp and prominent acid bass line, but the helter-skelter drum breaks and wandering keyboard lines are very much pulling from 'lola's zanier energy. As with the other joints here, 'mousfolk' is elevated by Pflum's composerly touch, the Dane frequently throwing in new sonic tidbits - a skippy snare tattoo, a single-note synth loop which sounds like a hovering spaceship - that reinvigorate the mix.
Pflum's musicality is at the fore once more on closer 'balm'. For the first section of 'balm', a rich and sombre keyboard fugue, you'd be hard pressed to say whether you're listening to a producer of club music or a contemporary classical maestro. The way Pflum builds this central motif up with deft broken-beat drum programming, a wheezing synth countermelody and distant vocal sighs is equally delightful, the whole track coming off like a kindred spirit of the electronica-infused experiments on Radiohead's 2000 masterwork Kid A.
A brilliantly unorthodox collection of electro-braindance hybrids, Liars is a barnstorming Central Processing Unit debut from the seasoned Karsten Pflum.
Riyl: AFX, Silicon Scally, DMX Krew, Matmos

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Adj / Adrien D'elzius

Arkada004

17,99 €*

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements. ADJ also performed his first Live set in a few years in March 2020 Mutabor in Moscow.

As a DJ, he has played at many festivals including a Bloc residency, Glastonbury For Bloc, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, Evac, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

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CD | 2022 | UK | Original (Mr Bongo)

The Children Of Scorpio

Malagasy At Newport-Paris

Release: 2022 / UK – Original

Genre: Rock & Indie

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Jef Gilson

LP | 1973 | EU | Reissue (Souffle Continu)

25,99 €*

Uneasy Laughter Loser Edition

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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In 1973, Jef Gilson gave new impetus to his already long career by reforming ‘Malagasy’ with young musicians from Madagascar exiled in Paris. The group was very successful and played in clubs and festivals on the same bill as Ray Charles, Sun Ra, Terry Riley, Hal Singer or Chris McGregor’s Brotherhood of Breath. The meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time.

"In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange "Zizi" Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison.

By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn’t have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch ‘Malagasy’.

He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the 50s/60s ("Requiem Pour Django", "Dizzy 48", "Anamorphose" here renamed "Salegy Jef" as a nod to an ancestral rhythm reworked in a contemporary style...), and also included more recent tunes ("Newport Bounce" which opens this current album is a reworking of a track called "Interlude", recorded in 69 with the drummer from Miles Davis’ first quintet, Philly Joe Jones). The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, ‘Le Newport’, in rue Grégoire de Tours, Saint Germain des Prés, not far from the ‘Kiosque d'Orphée’ where Gilson worked at the beginning of the 60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA.

This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time." --- Jérôme « Kalcha » Simonneau

Album Release

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Moaning

LP | 2020 | US | Original (Sub Pop)

12" | 2024 | UK | Original (Jti)

Release: 2020 / US – Original

Genre: Rock & Indie

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What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning. Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits - Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they've tackled challenges both personal and universal the only way they know how: by talking about how they're feeling and channeling those emotions directly into their music. "We've known each other forever and we're really comfortable trying to express where we're at. A lot of bands aren't so close," says MacKelvie. Adds Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions, "Men are conditioned not to be vulnerable or admit they're wrong. But I wanted to talk openly about my feelings and mistakes I've made." Moaning's 2018's self-titled Sub Pop debut featured songs mostly written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who observed, "Moaning craft anxious music for an increasingly nervous local scene." But Uneasy Laughter is a collaborative breakthrough which significantly brightens Moaning's once claustrophobic sound, again abetted by producer/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first single "Ego," which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution. Solomon admits Uneasy Laughter could have gone in quite another direction had he not gotten sober and educated himself on such core subjects as gender and mental health. "I did a lot of reading in the tour van - authors like bell hooks, Mark Fisher, and Alain de Botton, all really inspired me. I don't want to be the person who influences young people to go get high and become cliche tragic artists," he says. "What I'd rather convey to people is that they're not alone in what they think and how they feel. 'Ego' specifically and the album overall is about those themes - letting go of your bullshit so you can help other people and be present." "We want to be part of a community," he adds. "I wrote online about being sober for a year, and I had kids from all over writing and asking for advice. One of them said, 'For the first time I can remember, I didn't drink last night.' I thought, for once, maybe we did something besides sell a record. That's a win. That's incredibly exciting."

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The Prisoners

Morning Star

Release: 2024 / UK – Original

Genre: Rock & Indie

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Some things are worth waiting for… "Morning Star" is the first all-new album by The Prisoners since 1986. It
features the original line-up of
Allan Crockford – bass, vocals
Graham Day – vocals, guitar
Johnny Symons – drums
James Taylor – Hammond organ, vocals
After a phenomenally successful series of gigs in December 2022 marking the 40 th anniversary of their debut album 'A Taste of Pink', the band decided to make some new music. The recording was completed in two days, one of them in Studio 2 at Abbey Road. Their preference for recording quickly hasn't changed since they recorded that first album as teenagers, also in two days, in 1982. To celebrate, they play The Roundhouse in London on May 24th, their biggest headline gig
Biography
The Prisoners formed when they were still at school in Rochester, Kent. Between 1982 and 1986 the band released four albums plus several singles and EPs. Inspired by the local Medway DIY music ethic, their debut 'A Taste of Pink' and 'The Last Fourfathers' appeared on their own label, Own Up Records whilst "The WiserMiserDemelza" was released on Big Beat (Ace Records) and "In From The Cold" on Countdown (Stiff Records).
They earned a reputation as an incendiary live act as they plied their trade around the UK and Europe, building up a dedicated following and unknowingly inspiring a generation of future musicians. Their unique sound, based on instantly memorable and melodic songs surfing on a seething wave of brutal guitar, attention-grabbing, up-front Hammond and head-pounding rhythms, made for an explosive evening of entertainment. It was a unique combination of the sonic assault and danger of The Who and 60's garage-punk, the soulful vocals and dynamics of the Small Faces plus the groove and danceability of Booker T & the MGs. Throw in the intensity, drive and insolence of punk rock, as well as an unabashed love for instrumental TV themes and you had a wonderfully off-kilter version of where the real cool kids were at in the early '80s…
Despite some brushes with 'success', the pressures of hard living on the road took their toll and they quit in September 1986. They left behind a legacy and a sound that was inspirational to many that followed. Not many under the radar bands of the 80's would merit chapters dedicated to them in biographies of such luminaries as Steve LeMacq and Tim Burgess as well as being name checked as Brit-Pop forefathers. Their original albums make regular appearances in 'Great Lost Albums' lists and continue in print to this day.
James Taylor subsequently went on to gain huge success as the best pure Hammond player of his generation with his jazz and funk quartet (jtq). His playing and sound undoubtedly played a massive part in restoring the popularity of his chosen instrument.
That work started in The Prisoners.
Graham Day and Allan Crockford, both together and apart, continue to the present playing music that has ploughed a similar furrow to The Prisoners in such combos as The Prime Movers, The Solarflares, The Gaolers, The Galileo 7 and The Senior Service.

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2LP | 1998 | EU | Reissue (Matador)

27,99 €*

Release: 1998 / EU – Reissue

Genre: Rock & Indie

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THE EXPANDED 2011 EDITION OF QOTSA"S DEBUT ALBUM- BACK ON CD AT LAST!- THE FIRST RELEASE SINCE QOTSA"S NEW ALBUM FROM "23, "IN TIMES NEW ROMAN..."- FEATURES ORIGINAL LOOSE-GROOVE COVER ARTWORK

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Tuxedo IV Colored Vinyl Edition

LP | 2024 | US | Original (Funk On Sight)

Release: 2024 / US – Original

Genre: Organic Grooves

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Preorder shipping from 2024-11-01

Bonding over a shared love of Parliament, Zapp and other signs in the greater funk Zodiac, Mayer Hawthorne (Aquarius) and Jake One (Taurus), collectively known as Tuxedo, return with their fourth studio album, Tuxedo IV. Their powers combined have yet again yielded a bevy of absolute slappers that are packaged perfectly for dance floors in 2024. Roll the Windows Down and turn the volume up. Tuxedo is Back 4 More so Don’t Think Twice.

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Tuxedo IV Black Vinyl Edition

LP | 2024 | US | Original (Funk On Sight)

Release: 2024 / US – Original

Genre: Organic Grooves

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2LP | 2019 | EU | Reissue (Interscope)

Lullabies To Paralyze

25,99 €*

Release: 2019 / EU – Reissue

Genre: Rock & Indie

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2LP | 2017 | US | Reissue (Stones Throw)

Tuxedo II

27,99 €*

Indo Tribe, Smart Systems, Yage

Release: 2017 / US – Reissue

Genre: Organic Grooves

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“The only time you wear a Tuxedo is when it’s time to party.”

So says legendary West Coast player Snoop Dogg on the opening track of “Tuxedo II”. The blessing of the Doggfather is of special importance to Mayer Hawthorne and Jake One, whose second album as a duo finds them at the forefront of a new wave of gangster boogie - one that owes as much to G-funk as P-funk.This is the territory of pre- and post-hydraulic low riders: a mélange of Cali boom-bap, analog synth bass and elegant disco that resonates truth and authenticity in an era where so many are faking the funk.

Bonding over a shared love of Chic, Parliament, and the other signs in the greater funk Zodiac, Mayer Hawthorne (Aquarius) and Jake One (Taurus) were early predictors of the sea changes that American music would undergo in 2016. Their first release of 2015 debuted at #1 on iTunes America’s RnB charts, christened as “Dance Floor Catnip” by the Boston Globe, and “Pure disco-funk hot fire” by Okayplayer. Considering their individual successes (Mayer’s four solo albums, Jake’s production work for the likes of Drake, Future, The Weeknd, and De La Soul) and five Grammy nominations between the two of them, it’s no surprise that their powers combined have yet again yielded a bevy of absolute slappers that are packaged perfectly for dance parties in 2017. The material here, while wholly original, is an exercise in honoring its forebears. “Tuxedo II” recalls the future funk wobble of Zapp, Gap, Jam/ Lewis and Junie Morrison, while nodding lyrically to Mtume, Jodeci and Cameo.The crystallization of the album’s concept comes courtesy of its message of universal love; thanks to the signature combination of soul and pop sensibility that have come to define Mayer’s hooks.

“You gotta do what you love...” says Mayer in a recent interview with Nordstrom’s style blog, one of the many fashion outlets to cover Tuxedo’s rise. After all - the transcendental ritual of the party and the rippling self affirmation of the funk are of one spirit: the spirit of self love...of self expression. “Tuxedo II” is a modern testament to unity and positivity in trying times. It is a reminder that the dance floor will always be there to welcome you, whoever you are.

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The Pulse Ep Volume 3

12" | 1991 | UK | Reissue (Jumpin' & Pumpin')

Hits 1990-2000 Red Vinyl Edition

Release: 1991 / UK – Reissue

Genre: Electronic & Dance

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First released over 30 years ago, this EP, as with Volumes 1 & 2, is where The Future Sound Of London started in 1991, these tracks under their pseudonyms. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Calcium” transcendental and otherworldly, “Owl” described as ‘one of the greatest breakbeat hardcore tracks ever created’. This edition of The Pulse EP is the first reissue in this original vinyl form since 1991, those initial pressings now expensive on Discogs. Genuine underground hardcore/rave history on vinyl to obtain one more time.

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Die Braut Haut Ins Auge

LP | 2024 | Original (Trikont)

Release: 2024 / Original

Genre: Pop

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Musical Ambassador / Money Could A Buy

Eek-A-Mouse, King Kong

7" | 2024 | EU | Original (Irie Ites)

11,99 €*

Release: 2024 / EU – Original

Genre: Reggae & Dancehall

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2LP | 2015 | US | Reissue (Stones Throw)

Tuxedo

36,99 €*

The Scan Aka Mathys Lenne

Release: 2015 / US – Reissue

Genre: Organic Grooves

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The mysterious Tuxedo Funk Crew drops it in full length in 2015!

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Callgroove

12" | 2023 | EU | Original (Blue Hour)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Blue Hour Music welcomes French artist Mathys Lenne for his debut EP as ‘The Scan’ - his go to alias for classic techno. Titled ‘Callgroove’ the record features four functional and highly seductive DJ tools aimed at darkly-lit dance floors. Each track is stripped to its essential layers, holding its own unique tension with hints of pre-pandemic club moments, lead by bold rhythmic groove manipulation, classic drum programming and immersive atmospherics.

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2LP | 2019 | EU | Original (Interscope)

Songs For The Deaf

47,99 €*

Release: 2019 / EU – Original

Genre: Rock & Indie

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Ibmcs 7 Inch 5 Blue Vinyl Edition

Phi-Life Cypher & Ed O.G

7" | 2024 | US | Original (IBMCs)

19,99 €*

Tom Holkenborg aka Junkie XL

Release: 2024 / US – Original

Genre: Hip Hop

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The 5th 7 inch in the series. Limited to only 200 copies.

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Mad Max: Fury Road

2LP | 2024 | EU | Original (Music On Vinyl)

38,99 €*

Release: 2024 / EU – Original

Genre: Pop

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In Times New Roman Limited Red Vinyl Edition

2LP | 2023 | EU | Original (Matador)

33,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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12" | 2022 | UK | Original (Edits Collection)

Lello Di Franco Aka Ldf

Edits Collection #2

13,99 €*

Release: 2022 / UK – Original

Genre: Electronic & Dance

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This second collection of edits from Italy's matter-of-fact Edits Collection label offers another quarter of superbly feel-good disco sounds. 'Slow Luv' has lush strings and plenty of Philly vibes, while 'Stranger Beat' layers up the jumbled percussion, sliding hi-hats and funky bass. Flip it over for 'Xpress Yourself' which is sure to weave its way into your soul with its hip-shaking groove and more funky bass frets than you know what to do with. 'Xpress Yourbeats' is a more raw and drum focused sound for amping up those energy levels on the floor.Edits Collection #2

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Villains Opaque White Vinyl Edition

2LP | 2017 | EU | Reissue (Matador)

Y2C, Curses & Younger Than Me

Release: 2017 / EU – Reissue

Genre: Rock & Indie

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Queens of the Stone Age’s redefining, 2017 album Villains produced by Mark Ronson and co-produced by Mark Rankin is reissued in a special, 5 Year Anniversary package with etching, obi-strip, and a limited-edition poster by Boneface.

Featuring: Josh Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita, Jon Theodore

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Still There

12" | 2022 | EU | Original (Live At Robert Johnson)

LP | 2022 | UK | Original (Before Zero)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Are you still here? Or are you still there? Berlin-based/Italian warehouse-rave warrior, Younger Than Me, and Italo-American romantic goth-wave prince, Curses are There. They're there where it's at! It was the bond of bold friendship that brought these guys together - and of course a shared history of subgenre juxtaposition and meshing. Both grew up on Punk, Rap, and of course the early days of Techno. »Still There« is their first EP together and thus of course their first for Live At Robert Johnson. It's a venture into the euphoric, psychedelic power of early Trance and Breaks mixed with the attitude and energy of EBM and Electro. Starting with the moody slow beats of the title tune »Still There«, Y2C takes you on a journey to a faraway chill-out room in some dark yet warm and cozy cellar. Or is this place to be found in synth heaven? It could well be if you listen to those dreamy melodies. Melodies as beguiling as the song of the Sirens that seduced good old Ulysses. Y2C pick up on that dreamy vibe but throw in that slight and subtle Trance-factor, taking up speed with »Romantic Squat«, dragging you into their very own romantic squat. Next up is »Love Your Enemy« - oh yes, shouldn't we all? Icey claps with lots of reverb and a bass line draw you onto the dry ice flooded aluminum floor and there's no way back - especially when that strange break with that crazy sound makes you stop for a second and think, why did I stop dancing? Get back on the floor y'all! The last track »Lullapaluza« is indeed some kind of a lollapalooza ride, a very special ride. And no, it does not lull you to sleep because the beat created by Y2C here is a demanding one, a special which gets you going all over its eight and a half minutes. It's sheer bliss, you gotta believe it. This is not a one-off novelty EP, it's a kinetic collaboration. Y2C is a force of nature, a force of Rave/wave energy, with many more to come, a force to reckon with.

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Akae Beka & Zion I Kings

Portals

21,99 €*

Jacka, The (Of Mob Figaz)

Release: 2022 / UK – Original

Genre: Reggae & Dancehall

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Akae Beka's inimitable style, developed over decades performing with St. Croix based band Midnite. At the point of his untimely passing in 2019, he had released over 70LP's. His prolific output coupled with his uniquely rich, deep, multilayered songwriting and uncompromising devotion to RasTafari has earned him a place amongst the reggae legends.
The production trinity, Zion I Kings have been involved collectively and individually in co-creating some of the most highly regarded contributions to the vast Akae Beka catalogue.
Now available on 12" vinyl courtesy of Before Zero Records, Portals was originally released on CD and Digital in 2016. It garnered critical acclaim and held position in the billboard charts top 10 for 2 weeks. Produced collaboratively between Zion I Kings and Vaughn Benjamin (Akae Beka), who co-produced & arranged 5 of the 13 songs himself, alongside the ZIK players in St. Croix's Aqua Sounds Studio. The album's sound continues a trajectory of textural, guitar-driven roots reggae that Zion I Kings and Padraic Coursey first explored on the track "Weather the Storm" on 2014's Beauty for Ashes.
Now available on 12" vinyl courtesy of Before Zero Records.

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Tear Gas Record Store Day 2022 Tear Gas Smoke Vinyl Edition

2LP | 2021 | US | Original (Empire)

Release: 2021 / US – Original

Genre: Hip Hop

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Tear Gas Smoke Vinyl. Released in 2009, Tear Gas is the fourth and arguably most notable studio album from The Jacka. Peaking at #93 on the Billboard Top 200, the 19-track album is packed with features from both Bay Area and national legends, such as Andre Nickatina, Matt Blaque, E-40, Mistah F.A.B., Cellski, Zion I, AP.9, Dubb 20, J. Stalin, Devin The Dude, Paul Wall, Masspike Miles, Planet Asia, Cormega, Ampichino, and Freeway. The album features the hit singles, "All Over Me feat. Matt Blaque," and "Glamorous Lifestyles feat. Andre Nickatina"

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LP | 2019 | PL | Original (Interscope)

Rated R

31,99 €*

Release: 2019 / PL – Original

Genre: Rock & Indie

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Freddie Cruger Aka Red Astaire

Soul Search

2LP | 2006 | US | Original (Ubiquity)

19,99 €*

Manuold, Asquith, Yard & UC Beatz

Release: 2006 / US – Original

Genre: Hip Hop, Organic Grooves

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13 tracks feat. Linn, Desmond Foster, Anthony Davis, ...

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803 Crystal Grooves Collective Cuts Volume 4

12" | 2020 | EU | Original (803 Crystal Grooves)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Cinthie launched the Collective Cuts imprint 2019 with a VA from Kettama, Asquith, 9th House and S3A and has since gone on to release a follow up EP from the latter and a split EP from Anaxander and Azuni. As the name would suggest the label was built as a platform for Cinthie to showcase the music of her peers. Here we see this continue with a four track package welcoming back Asquith while introducing three new acts to the roster. Up first is Manuold with his ‘Classic Paradise’ cut, a disco-tinged house track employing soaring diva style vocals, bright keys, choppy bass hits and sweeping pad sequences throughout. Lobster Theremin’s Asquith then takes thing in a rave driven direction with bumpy breaks, heavy doses of sub bass and a hazy, resonant atmospheric pad. UC Beatz steps up next with ‘Picnic On A Roof’, laying down a smooth deep house feel via warbling Rhodes, cinematic strings, wandering jazz tinged bass and organic drums before Yard One round out the release with ‘Disjoint’, fusing a dynamic drum workout with gritty bass hits, bright synth sequence and emotive atmospherics.

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LP | 2019 | PL | Original (Interscope)

Era Vulgaris

Release: 2019 / PL – Original

Genre: Rock & Indie

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LP | 2013 | US | Original (Matador)

...Like Clockwork

34,99 €*

Release: 2013 / US – Original

Genre: Rock & Indie

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2LP | 2013 | EU | Original (Matador)

Like Clockwork

Release: 2013 / EU – Original

Genre: Rock & Indie

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Standard 2LP on 150 gram vinyl with download code.

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LP | 2000 | UK | Reissue (Interscope)

Rated R

Release: 2000 / UK – Reissue

Genre: Rock & Indie

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Southside Movement And Jackie Ross

Picture
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You Are The One That I Need

7" | JP | Reissue (P-Vine)

21,99 €*

Yasuko Love-Bird = Yasuko Agawa

Release: JP – Reissue

Genre: Organic Grooves

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Preorder shipping from 2025-01-31

The collaboration between Chicago funk band Southside Movement, who released a total of three albums between 1973 and 1975 on Wand and 20th Century Records, and female soul singer Jackie Ross, also based in Chicago and left many records for Chess and Brunswick. The fabulous collaboration is forgotten so long as it hasn't been released officially though a few test pressing copies only exist. In 2023, P-vine reissued their only full-length on vinyl for the first time. And now, the most highlighted song "You Are The One That I Need" is finally available on 7inch vinyl!

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Sunglow = サングロウ

LP | 1981 | JP | Original (Invitation)

7,99 €*

Miles, Pete Melba, Iro Aka

Release: 1981 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Japanese pressing with OBI

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Luminescence Va

12" | 2024 | EU | Original (Real Interactions)

13,99 €*

Gene Hughes Aka Bluemoon Productions

Release: 2024 / EU – Original

Genre: Electronic & Dance

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5th release for Real Interactions, another release with a diverse selection of tracks. A side featuring 2 Housey 4 to the floor tracks from Pete Melba & Miles, whilst the B side boasts more electro / break driven beats courtesy of Iro Aka & Miles.

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Track Show Volume 2

12" | 2024 | EU (Hotmix)

11,89 €* 13,99 € -15%

Release: 2024 / EU

Genre: Electronic & Dance

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Airgoose Aka Rockers Hi-Fi

That Was No Martian

12" | 1995 | EU | Reissue (Personal)

Vanilla Aka Daniela La Luz

Release: 1995 / EU – Reissue

Genre: Electronic & Dance

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That Electro Banger from Airgoose aka the Rockers Hi-Fi aka Original Rockers gets a 45 feel with a fresh 2024 Version of "That Was No Martian" on the flipside.

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Global Transformation

12" | 2024 | EU | Original (Chiwax)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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In Times New Roman Limited Blue Vinyl Edition

2LP | 2023 | EU | Original (Matador)

33,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Jorma Kaukonen And Jack Casady

Reno Road: Unreleased Tracks From The 60's Black Friday Record Store Day 2024 Edition

2LP | 2024 | Reissue (Culture Factory USA)

54,99 €*

Release: 2024 / Reissue

Genre: Organic Grooves

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Coming Soon 2024-11-29, 12:00 CET

RSD Exclusive, Limitation: 2000

Twenty-six never-before released-tracks from the original members of Jefferson Airplane and current members of Hot Tuna. These are tracks that Jorma and Jack recorded in the 1960s before Jefferson Airplane. The double vinyl package includes an OBI side spine, gatefold jacket and printed inner sleeves with never-before-seen photos of Jorma and Jack from the 1960s. Pressed on Gold Nugget vinyl.

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2x12" | 2013 | Original (Matador)

...Like Clockwork

22,99 €*

Release: 2013 / Original

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: VG+

Like Clockwork Opaque Red Vinyl Edition

2LP | 2013 | EU | Reissue (Matador)

Release: 2013 / EU – Reissue

Genre: Rock & Indie

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Used Vinyl

Medium: Sealed, Cover: Sealed

Yasuko Love-Bird = Yasuko Agawa

Sunglow = サングロウ

LP | 1981 | JP | Original (Invitation)

9,99 €*

New Jack Hustle (Giant Panda)

Release: 1981 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing with OBI

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New Shades / Make Moves / Saturday Night

12" | US (TR)

10,99 €*

Release: US

Genre: Hip Hop

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DJ Plant Texture A.K.A. A662

Just EP

12" | 2023 | EU | Original (Kaos)

11,19 €* 15,99 € -30%