Search "de+la+soul" 42688 Items

Release: 2023 / EU – Original

Genre: Pop

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Lord Dakim & The Mellow One

Phunk Wit Da Flava '93 Demos EP

CD | 2023 | UK | Original (Chopped Herring)

Blind Prophet Feat. Daweh Congo

Release: 2023 / UK – Original

Genre: Hip Hop

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Arghhh yeah and we're back in with a new Season of the Herring.

So my man Hakan Dougpark, a well known demo tape hunter and youtube poster hit me up with the Lord Dakim and the Mellow One demo tape from 93 and said: "Yo Bob, any chance of making this happen?". It took a while but finally the producer Jerry (Ain't it Funky) Phillips found the OG tapes and this stunning EP was born.

Peep the interview below to get more info on the crew. There were only 50 demo tapes ever, most of which ended up at radio stations and labels. No significant interest emerged, that is until 30 years later when Herring came along to make it happen. What can I say fisherman, it was definitely worth the wait!!!

There are 300 copies only in Full Colour Large Sticker cover.

Black wax only.

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Good Morning Zion

12" | 2023 | UK | Original (Dub-Stuy)

15,99 €*

B'lieve I'll Run On.... See What The End's Gonna Be

Release: 2023 / UK – Original

Genre: Reggae & Dancehall

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Blind Prophet returns to Dub-Stuy with a 12'' featuring the mystical voice of Daweh Congo, the renowned roots reggae singer from Jamaica. Good Morning Zion is an uplifting cut blending deep dub vibes with positive roots lyrics from Daweh, a heavyweight steppers cut backed by two dub versions. All tracks were mixed live by the engineer McPullish to give this release a deep analogue resonance.

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Sweet Honey In The Rock

LP | 1978 | US | Original (Redwood)

7,64 €* 8,99 € -15%

Release: 1978 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Claudia Buzzetti And The Hootananny

7 Years Crying

LP | 2023 | EU | Original (Edone' Dischi)

32,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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2Tape | 2024 | US | Original (Needlejuice)

Demos Vol. 5 + Vol. 6

Release: 2024 / US – Original

Genre: Rock & Indie

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•Green and red cassette shells
•Dolby B noise reduction
•On-body print

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6Tape | 2024 | US | Original (Needlejuice)

Live In Chicago '23

39,99 €*

Art Blakey & The Jazz Messengers

Release: 2024 / US – Original

Genre: Rock & Indie

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•Dolby B Noise Reduction
•Double-cassettes in a butterfly case
•6 cassettes total (2 tapes per night)
•Cassette Shells with On-Body Printing

In 2023, King Gizzard performed multiple nights in cities across the Us-- this tour being known as the Residency Tour. This is one of those 3-night runs at The Salt Shed in Chicago!

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Selections From "Golden Boy"

LP | 1963 | US | Original (Colpix)

15,19 €* 15,99 € -5%

Release: 1963 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: G+, Cover: VG

2LP | 2023 | EU | Original (Interscope)

New Kids On The Block

The Block Revisited

Release: 2023 / EU – Original

Genre: Pop

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The Wilbur's Meets Rankin' Alpha

Message To The World

7" | 2023 | EU | Original (Nun.Ki.Rec.)

11,89 €* 13,99 € -15%

Nick Cave & The Birthday Party

Release: 2023 / EU – Original

Genre: Reggae & Dancehall

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Knifeplay’s sophomore full-length, and first ever studio album Animal Drowning is a sprawling landscape of shoegaze and lofty slowcore. The album finds the band in a blend of folk instruments, walls of distortion, orchestral strings and delicate vocals, all carefully organized by Philadelphia engineer/producer Jeff Zeigler, known for his work with Nothing, Kurt Vile, and more. Though their sonic palette is vast, Knifeplay craft a cohesive aesthetic to carry frontman Tj Strohmer’s thematically heavy songwriting, which touches on loss of all kinds against the backdrop of a nihilistic world. These songs cry out with urgency no matter their ever-varied tempo and dynamic, each painting a unique vignette of tragedy. Yet the band’s dense, meticulously composed instrumentation exudes beauty, creating a lightness to balance the subject matter. With Animal Drowning, Knifeplay goes deeper into the sonic experimentation and brutally honest lyricism so beloved on their early bedroom recordings, creating an enrapturing experience that deftly builds on previous work.

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Amsterdam 1981

LP | 2023 | UK (Cult Legends)

18,99 €*

Release: 2023 / UK

Genre: Rock & Indie

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Diamonds & Pearls Audiophile Atmos / Hd Audio Blu-Ray

Blu-Ray Disc | 1991 | EU | Reissue (Warner)

24,99 €*

Release: 1991 / EU – Reissue

Genre: Pop

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Diamonds & Pearls Limited Remastered Clear Vinyl Edition

2LP | 1991 | EU | Reissue (Warner)

45,89 €* 50,99 € -10%

Release: 1991 / EU – Reissue

Genre: Pop

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Diamonds & Pearls Super Deluxe Edition CD Box Set

Box | 1991 | EU | Reissue (Warner)

164,99 €*

Release: 1991 / EU – Reissue

Genre: Pop

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Diamonds & Pearls Super Deluxe Edition Vinyl Box Set

Box | 1991 | EU | Reissue (Warner)

354,99 €*

Release: 1991 / EU – Reissue

Genre: Pop

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Orchestral Manoeuvres In The Dark

Bauhaus Staircase Red Vinyl Edition

LP | 2023 | EU | Original (White Noise)

31,99 €*

Release: 2023 / EU – Original

Genre: Pop

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Coleman Hawkins With The Ramblers

The Hawk In Holland

LP | 1983 | JP | Reissue (London)

14,99 €* 19,99 € -25%

Release: 1983 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Franki Valli & The Four Seasons

Sherry

LP | 2023 | UK | Original (Not Now Music)

Release: 2023 / UK – Original

Genre: Pop

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Time For 2 Limited Edition Colored Vinyl

Anita O`Day / Cal Tjader

LP | 2023 | EU | Original (Now Or Never)

20,99 €*

Release: 2023 / EU – Original

Genre: Organic Grooves

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The Alliance Feat. Yvonne Shelton

I'm Attracted To You

12" | 1997 | UK | Original (Mo's Music Machine)

6,74 €* 8,99 € -25%

Release: 1997 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

Roger Sanchez Presents The Deep

Deep / Vibe

12" | 1996 | DE | Original (Narcotic)

18,99 €*

Release: 1996 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

Driver Or Driven Colored Vinyl Edition

Es & Das Da Beat Junkie

LP | 2023 | CA | Original

25,49 €* 29,99 € -15%

Release: 2023 / CA – Original

Genre: Hip Hop

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Jonathan Richman & The Modern Lovers

LP | 1976 | EU | Reissue (Music On Vinyl)

Release: 1976 / EU – Reissue

Genre: Rock & Indie

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The East Village Loft Society

I Wanna Sing...Sunshine

12" | 1993 | UK | Original (Black Sunshine)

2,79 €* 3,99 € -30%

Grandmaster Flash & The Furious Five

Release: 1993 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

Price sticker on cover.

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The Message

LP | 1983 | CA | Reissue (Rhino)

32,99 €*

Release: 1983 / CA – Reissue

Genre: Hip Hop

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12" | 1993 | IT | Original (FFRR)

D Mob With Cathy Dennis

Why

2,59 €* 3,99 € -35%

Give Me The Music (The Remixes)

Release: 1993 / IT – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: Generic

Record is close to VG+.

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B.G. The Prince Of Rap

12" | 1991 | DE | Original (Dance Pool)

3,99 €*

Release: 1991 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

The Future Sound Of London

Papua New Guinea

12" | 1992 | UK | Reissue (Jumpin & Pumpin)

Markus Enochson & The Subliminal Kid

Release: 1992 / UK – Reissue

Genre: Electronic & Dance

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Back for a limited edition, individually numbered 12” single from The Future Sound of London comes the iconic original ‘12tot17r’ collection of “Papua New Guinea” mixes. Mixes alongside the classic 12” Original include the full length Andrew Weatherall Mix, reissued here for the first time since 1992. Andrew Weatherall (1963-2020) was one of the key DJs on the acid house dance scene and this mix is one of his most highly regarded works next to Happy Mondays, New Order and Bjork. This edition is a limited edition to only 2000 copies only.

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Schmuts EP

12" | 2008 | NL | Original (Ann Aimee)

6,49 €* 9,99 € -35%

Ann Peebles & The Hi Rhythm

Release: 2008 / NL – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: VG+

Green translucent vinyl.

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Live In Memphis

LP (Memphis International)

40,99 €*

Genre: Organic Grooves

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Art Blakey & The Jazz Messenge

At The Cafe Bohemia

2LP (Jazz Images)

Genre: Organic Grooves

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Graham Parker And The Rumour

Stick To Me

LP | 1977 | US | Original (Mercury)

4,99 €*

Release: 1977 / US – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG, Cover: VG

The White Man / David Hausdorf

Ambivalent Tales

12" | 2023 | EU | Original (Alienus)

10,39 €* 15,99 € -35%

Release: 2023 / EU – Original

Genre: Electronic & Dance

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The Devil And His Wicked Ways

Roots Of The Old Oak

LP | 2023 | EU | Original (Hammerheart)

Release: 2023 / EU – Original

Genre: Rock & Indie

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LP | 2022 | US | Original (Eccentric)

Dan Vapid And The Cheats

Escape Velocity

Release: 2022 / US – Original

Genre: Rock & Indie

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The Hirs Collective/Peeple Watchin'

Split

7" | 2017 | US | Original (Get Better)

9,99 €*

Release: 2017 / US – Original

Genre: Rock & Indie

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Kenton Hall & The Necessary Measures

Idiopath

3LP | 2023 | EU | Original (Monkey Basket)

36,39 €* 55,99 € -35%

Baby Ford & The Ifach Collective

Release: 2023 / EU – Original

Genre: Hip Hop

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Idiopath is the debut album from Kenton Hall & The Necessary Measures. Kenton Hall is a Canadian author, actor, director and musician who fronted the band ist from 2001 until 2010, releasing three critically acclaimed albums: 2004's Freudian Cordurory, 2005's King Martha and 2009's Toothpick Bridge. The band reformed briefly in 2015 to record two new tracks for Hall's directorial film debut "A Dozen Summers".

Idiopath will be accompanied by a feature film version of the album, Videopath and a companion album, Omniopath, featuring all the songs from the Idiopath sessions reinterpreted by other artists.

Idiopath was produced by Kenton Hall, Chris Ilett and Brett Richardson

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Sacred Machine

3LP | 2023 | UK | Original (Ifach)

47,99 €*

The Mango Wood Moskito Bite

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Ifach continues its new series of reissue projects with an expanded version of Baby Ford & The Ifach Collective's Sacred Machine album, which has been lovingly remastered by Dubplates & Mastering for the occasion. The 2001-released album set a new benchmark for minimal techno that has rarely been bettered since. The sound design is of course the first thing to mention - impossibly fine and subtle, with plenty of quirky twists and experimental ideas. 'Bad Friday' is blissful minimal trance, 'Carpet' explores darker progressive moods and there are two previously unreleased gems from the same sessions - Mark Broom's mix of 'rtdc' and 'In The Bag'. As good for mind as it is for the body, Sacred Machine remains a stone cold classic.

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Never Can Tell / Down In Mexico Lim.Ed.

7" | 2023 | EU | Original (Liquidator)

12,99 €*

Release: 2023 / EU – Original

Genre: Reggae & Dancehall

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LP | 2011 | US | Reissue (Dead Oceans)

The Tallest Man On Earth

Shallow Grave

Todd Russell & The Dangerous Coats

Release: 2011 / US – Reissue

Genre: Rock & Indie

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The Tallest Man on Earth released one of 2008's most powerful records, one that Pitchfork praised, calling Kristian Matsson "a natural-born folksinger, earnest, clever, and comforting." Shallow Grave could not have been more simple, just Matsson's commanding vocals with an acoustic guitar or banjo, recorded at his home in Dalarna, Sweden. Although the album was released on the Swedish label Gravitation without the help of widespread distribution, the story of The Tallest Man on Earth spread far and wide through word of mouth. In April 2010 The Tallest Man on Earth released the critically acclaimed album The Wild Hunt and has played dozens of sold-out shows on both sides of the Atlantic. Now, Gravitation is pleased to make Shallow Grave widely available on vinyl for the first time.

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Playa Larga / 1900 Ocean Ave

12" | 2023 | Original (Be With)

20,99 €*

Release: 2023 / Original

Genre: Electronic & Dance

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Matthew Halsall & The Gondwana Orchestra

Into Forever Transparent Blue Vinyl Edition

LP | 2015 | UK | Reissue (Gondwana)

Release: 2015 / UK – Reissue

Genre: Organic Grooves

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Limited edition, celebrating 15 years of Gondwanan records!

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Demos Volume 2 Picture Disc Edition

LP | 2021 | EU | Original (Gizzs Picks)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Demos Volume 1 Picture Disc Edition

LP | 2021 | EU | Original (Gizzs Picks)

Release: 2021 / EU – Original

Genre: Rock & Indie

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2LP | 2021 | EU | Original (Gizzs Picks)

Demos Volume 1 + Vol. 2

Release: 2021 / EU – Original

Genre: Rock & Indie

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Mahlathini And The Mahotella Queens

Music Inferno

2LP | 2023 | UK | Original (Umsakazo)

24,99 €*

Alex Christensen & The Berlin Orchestra

Release: 2023 / UK – Original

Genre: Organic Grooves

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A series of pivotal music projects during the early 1980s led to an explosion of authentic South African sounds sweeping the Western world. Among those projects were albums by Malcolm McLaren, Lizzy Mercier Descloux and Paul Simon; and reissues and compilations of essential African recordings on the UK-based Earthworks Records label. The common denominator was the genre Earthworks famously referred to as “The Indestructible Beat of Soweto” – mbaqanga music. It was therefore inevitable that the foremost exponents of that genre, Mahlathini and the Mahotella Queens, would achieve international stardom before the decade ended.

In June 1988, Mahlathini and the Queens made their first visit to the United Kingdom. Hoping to ride the crest of a wave, concert promoters conceived a package show named after the seminal 1985 Earthworks compilation, The Indestructible Beat of Soweto. This would give British audiences a revealing insight into African music as never before – in addition to the headline performers were Philip Tabane and Malombo, Nothembi Mkhwebane, Sipho Mchunu, accordion player Mzwandile David and acrobatic dancer Lucas ‘Rubber Boy’ Kau. The rapturous reception led to an invitation back to the UK in November for further Indestructible Beat concerts, then Mahlathini and the Queens‘ first standalone UK tour in early 1989. Their stage act rarely dipped below excellent. The three Queens would fly onto the stage to herald the start of a very special evening of music and dance. The formidable Mahlathini, “The Lion of Soweto”, prowled around the stage imitating the ladies trademark mgqashiyo choreography, punctuated with whistles, hand claps and chants. Then the great groaner suddenly came alive, contorting, convulsing and leaping through exaggerated Zulu dance routines.

The Indestructible Beat of Soweto shows have long since passed into gig legend. None of those landmark concerts were ever made commercially available. Now, some 30 years later, Umsakazo Records proudly presents Mahlathini and the Mahotella Queens’ entire Indestructible Beat set of 16 songs, handpicked from a number of different UK venues and all remastered from newly discovered cassette recordings. These were made at the mixing desk by David Barton, a photographer and music fanatic who travelled with the performers as they descended on unsuspecting audiences across the UK. Music Inferno: The Indestructible Beat Tour 1988-89 shines the spotlight once more on a truly joyous and frenetic concert experience by one of South Africa’s greatest musical exports.'

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Classical 90s Dance The Icons

2LP | 2023 | EU | Original (Starwatch Entertainment)

Release: 2023 / EU – Original

Genre: Pop

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Grease: Rise Of The Pink Ladies

Rise Of The Pink Ladies

LP | 2023 | EU | Original (Capitol)

Release: 2023 / EU – Original

Genre: Pop

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LP | 2023 | US | Original (Eccentric Pop)

Dan Vapid And The Cheats

Welcome To Dystopica

Release: 2023 / US – Original

Genre: Pop

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David Blue & The American Patrol

The Lost 1967 Elektra Recordings & More

LP | 2023 | Original (Mapache)

Release: 2023 / Original

Genre: Electronic & Dance

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Close To Custom & Den Haas

Mfrw 002

12" | 2023 | EU | Original (Metafloor)

13,99 €*

Jodie / Floyd James & The Gts

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Metafloor Records Wax long awaited follow up comes from none other than Close to Custom and Den Haas with the â€œLee Tommyâ€ EP. The release features four original tracks from the returning duo and is a limited edition vinyl only release. The A-side delivers â€œLee Tommyâ€ and â€œLilly Tommyâ€™ as two alternate versions of the lead track. â€œDrop It Lowâ€ and â€œSatellite duoâ€ round off the package on the flip. Certified sonic weaponry.

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I'm Not Your Fool / Johnnie's Blues

7" | 2023 | UK | Original (Original Gravity)

16,99 €*

Release: 2023 / UK – Original

Genre: Reggae & Dancehall

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In Times New Roman Limited Silver Vinyl Edition

Queens Of The Stone Age

2LP | 2023 | EU | Original (Matador)

Release: 2023 / EU – Original

Genre: Rock & Indie

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In Times New Roman Black Vinyl Edition

Queens Of The Stone Age

2LP | 2023 | EU | Original (Matador)

Release: 2023 / EU – Original

Genre: Rock & Indie

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CD | 2023 | EU | Original (Rrc Music)

Willie The Kid & V Don

Blue Notes 2

19,99 €*

Release: 2023 / EU – Original

Genre: Hip Hop

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Over fi ve years after the release of "Blue Notes", V Don and Willie The Kid are back at it with the 2nd chapter! Willie The Kid keeps delivering fl awless bars over V Don's cinematic and stone cold productions to give you the chills, featuring guest appearances by Flee Lord, Ransom, Ankhle John, Babymaine, TY Da Dale, Whoisbravy and Hobx.

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2LP | 2023 | EU | Original (We Are Busy Bodies)

Murder Of The Universe

19,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Yasuyuki Horigome & The New Shoes

Aliens

12" | 2017 | JP | Reissue (Urban Discos)

24,99 €*

Levin Goes Lightly / The Members

Release: 2017 / JP – Reissue

Genre: Reggae & Dancehall

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Released in 2017, the much-talked-about Yasuyuki Horigome & THE NEW Shoes "Aliens (Lovers Version) (12")" will be re-released by Urban Discos in limited quantities! The flip side features a dub version of the song, as on the first pressing. It was re-cut from the original master and retains the 12" 45rpm spec.

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Nightclubbing / The Model

7" | 2023 | EU | Original (Elaste)

15,99 €*

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Live Around The Globe Part 3 Record Store Day 2023 Yellow Marbled Vinyl Edition

LP | 2023 | EU | Original (Blind Rope)

32,29 €* 37,99 € -15%

Release: 2023 / EU – Original

Genre: Rock & Indie

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Torb The Roach & Floppy McSpace

Tape Echo / Gold Floppies

LP | 2017 | UK | Original (KingUnderground)

39,99 €*

Release: 2017 / UK – Original

Genre: Hip Hop

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Head On / Pill Picture Disc Vinyl Edition

LP | 2023 | US | Original (Needlejuice)

Release: 2023 / US – Original

Genre: Rock & Indie

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Every time we do a Gizz boot that has Head On/Pill, we wind up splitting it across two sides in order to preserve sound quality. Naturally, some people wish that we didn’t have to cut these epic performances in twain. And you know what? They’re right. If you’ve ever wanted 30 minutes of Head On/Pill stuffed on one side, well, today is your lucky day because we’ve stuck TWO of them on one LP. And not only that, but we’ve made it a picture disc with new artwork by Gabriel Allensworth to boot! Because nothing says amazing high-fidelity sound quality like a picture disc!

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Live In Brisbane '21 Stuing In The Juices Splatter Vinyl Edition

3LP | 2022 | US | Reissue (Needlejuice)

49,99 €*

Winston Francis & Change The Mood

Release: 2022 / US – Reissue

Genre: Rock & Indie

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LP1 – Stu’s vomit in the toilet. Swamp Green in Electric Blue with Swamp Green, Olive Green & Easter Yellow splatter
LP2 – The shit stain on Stu’s pants. Brown in Beer with Brown splatter
LP3 – The vomit and the shit all mixed together. Brown/Mustard/Swamp Green Tri Color with Swamp Green, Olive Green, Brown & Highlighter Yellow splatter
180 gram vinyl
Gatefold jacket

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Let's Go To Zion

7" | 2023 | EU | Original (Berends)

12,99 €*

12" | 2023 | EU | Original (Bliss Point)

Release: 2023 / EU – Original

Genre: Reggae & Dancehall

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Change THE Mood present...

Faithful remake of Winston Francis Studio 1 classic 'Let's Go To Zion'.

Winston ('Mr Fix It') Francis originally recorded this song in 1968 at the legendary Studio 1 in Jamaica. The music was written, arranged & performed by maestro's Jackie Mittoo (who had to be woken from sleeping under the piano that day) & Ernest Ranglin.

Many official (& unofficial) versions of varying quality have been issued over the years, this recording by 'Change The Mood' band, has been made with respectful & diligent attention to the Studio 1 sound as well as the music.

Winston himself (now in his 80th year!) voiced the track again as freshly as ever (over 50 years after the first time) & added a little extra lyric and Jamaican spice along the way.

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Max In The World & Kroba

Excursions EP

12,59 €* 13,99 € -10%

LP | 2006 | EU | Original (ZYX)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Following 2020’s Radiant City and 2021’s The Living Dub, Bliss Point’s Max In The World has teamed up with saxophonist Kroba for Excursions, four new offerings for club and home listening.

On Excursions, the pair explore a variety of sonic palates: the sun-drenched balearic house of “Don The Don”, the psychedelic downtempo of “Tiqqun”, the jazz inflected minimal dub of “Rain Dub”, and finally the beat-less bliss of “Gigi”, a naturalistic ode to the life-giving catalog of Gigi Masin, perfect for meditation or a dance floor wash.

Kroba, who cut his teeth in Brooklyn trio Archie Pelago (Mister Saturday Night, Styles Upon Styles), conjures a mixture of free form jazz and effected, ambient saxophone textures over Max In The World’s emotion-laden club grooves, together opening new portals for the head, heart and body.

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DJ 4 Motion & T-Flow

We Are Back

Release: 2006 / EU – Original

Genre: Electronic & Dance

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Max & The Broadway Metal Choir

And God Gave Us Max

LP | 2021 | EU | Original (Golden Core)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Baby Ford & The Ifach Collective

The Healing EP

12" | 2000 | UK | Reissue (Ifach)

Thomas Lauderdale Meets The Pilgrims

Release: 2000 / UK – Reissue

Genre: Electronic & Dance

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Legendary minimal - and acid house before that - pioneer Baby Ford very much set the blueprint for the genre back in the late 90s, both solo and with The Ifach Collective, who featured Ian Loveday, Mark Broom and Thomas Melchior (amongst others). Now they are reminding us of the greatness of that work with the first in a series of reissues coming in 2023. These tunes were originally put out back on the legendary Klang Elektronik in 2000. First up is 'Tea Party' by Eon, M-Core, and Baby Ford, an ice-cold rolling dub. 'On The Floor' Ifachwith Mark Broom gets more percussive and then comes a solo cut from Baby Ford, 'The Healing' which is as heady as can be and finally 'Word For Word' featuring Cheru Amadi layers up slithers of silvery percussion and cuddly bass into dubbed-out tech heaven.

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LP | 2023 | EU | Original (Naive)

23,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Alpha Blondy & The Solar System

The Prophets

LP | 1989 | EU | Reissue (Test / Wagram)

25,99 €*

In The Company Of Serpents

Release: 1989 / EU – Reissue

Genre: Reggae & Dancehall

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Alpha Blondy (born Seydou Koné; 1 January 1953 in Dimbokro, Ivory Coast) is a reggae singer and international recording artist. Many of his songs are politically and socially motivated, and are mainly sung in his native language of Dioula, French and in English, though he occasionally uses other languages, for example, Arabic or Hebrew.

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Lux

LP | 2021 | EU | Original (Petrichor)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Graham Parker And The Rumour

Squeezing Out Sparks

LP | 1979 | DE | Original (Vertigo)

6,99 €*

Release: 1979 / DE – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG

King Cornelius And The Silverbacks

Enter The Forbidden Zone

LP | 2023 | EU | Original (Soundflat)

21,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Tom Petty And The Heartbreakers

Surrender In California: The Sausalito Record Plant Broadcast

LP | 2023 | EU (Mind Control)

James Edwyn & The Borrowed Ban

Release: 2023 / EU

Genre: Rock & Indie

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Live AT Record Plant Studios Sausalito, CA, 23 APR 1977 - FM Broadcast

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Highlights Of The Low

LP | 2023 | UK | Original (Last Night From Glasgow)

32,99 €*

Release: 2023 / UK – Original

Genre: Rock & Indie

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Deltron 3030 (Del The Funky Homosapien, Dan The Automator & Kid Koala)

Deltron 3030 Instrumentals

2LP | 2017 | US | Reissue (Deltron Partners)

25,99 €*

ZZZ Master Boyz & The Nude Boyz Of House, The / Bedroom Athlete

Release: 2017 / US – Reissue

Genre: Hip Hop

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Deltron 3030 The Instrumentals is the sibling of Deltron 3030's legendary
self-titled debut and an experience all its own. Since the record’s release
in 2000, Deltron 3030 has moved into the pantheon of greatest recordings
of all time, of any genre. Del’s Deltron Zero persona certainly has much to
do with the release’s setting in a dystopian future. But beyond that, and
beyond the great guest appearances the foundation of that setting is the
sonic landscape presented by Dan The Automator. The Instrumentals
puts the focus on the mood forged by The Automator’s soundscapes
which create a listening experience often referred to as cinematic.
Long out of print since its initial release in 2001, The Instrumentals return
housed in a unique die-cut jacket with a full color obi rounding out the
package. The result is a set that’s visual appeal compliments the rich
soundscape created by Dan The Automator.

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Split

12" | 2017 | EU | Original (Mirror Planet)

12,09 €* 21,99 € -45%

Otto Ebner Mit Seiner Blaskapelle, Die Münchner Stimmungssänger, Die Fidelen Zillertaler, Die Irren Zickendrähte, Rolf Berry-Chor

Release: 2017 / EU – Original

Genre: Electronic & Dance

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THE ZZZ MASTER BOYZ
NO VOCAL NECESSARY?????????????20????????????????????????????????ZZZ????
????????????????????????????????????????????A&R????????????????????
Shunsuke Kado???????12??300??????????Design By Hiroshi Iguchi
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?????????????????????????????Shunsuke Kado?????????????????????????????
???????????”Mirror Planet”????????
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???45rpm 12?(Outer sleeve + Inner sleeve).

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Bombenstimmung

LP | DE | Original (Europa)

3,99 €*

Release: DE – Original

Genre: Pop

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Used Vinyl

Medium: VG+, Cover: VG+

LP | 1992 | UK | Reissue (Warp)

V.A.

Artificial Intelligence

31,99 €*

CD | 2024 | UK | Original (Far Out)

Release: 1992 / UK – Reissue

Genre: Electronic & Dance

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Are you sitting comfortably? Artificial Intelligence is for long journeys, quiet nights and club drowsy dawns. Listen with an open mind.

Back in 1992 when Warp released the Artificial Intelligence compilation it almost instantly changed both the course of Warp as a label and arguably what many would consider club music as an entity to be. Artificial Intelligence came housed inside a prog rock styled gatefold sleeve depicting a cover image of a robot blowing smoke rings whilst reclining on an armchair. Its extra long rolling papers and tin of tobacco just out of reach, whilst a high-end stereo plays out the sounds of Kraftwerk's Autobahn and Pink Floyd's Dark Side Of The Moon, their LP sleeves lay strewn across the floor. This image along with the above text that as printed on the sleeve acted as a guide for the listener on how to best experience this new mode of techno music, one that was designed for those nights when your body stays in but your mind steps out.

Having been in operation for three years by the time they compiled and released the Artificial Intelligence compilation, Warp had already proved itself as a worthy force within the world of quickfire 12 singles of acid house and the emerging hardcore scene. Starting as a predominant pusher of the new bleep 'n' bass sounds of their hometown Sheffield, Warp had enjoyed success with early anthemic singles from artists such as Nightmares on Wax, LFO & Richard H. Kirk's Sweet Exorcist project. These building blocks laid the foundations for what many would go on to define as the Warp sound but it was 1992's Artificial Intelligence compilation that cemented their place in music history.

Artificial Intelligence was notable for early appearances by people who went on to become pioneers of the hypnotic groove for both Warp and electronic music in its entirety. Artists such as The Black Dog/Plaid whose melancholic contribution The Clan (produced under the alias I.A.O.) bears long drawn out strings combine perfectly with the tear-drenched techno of Carl Craig with the trend for looped breakbeats to create a track that still resonates deeply every time it is played. Looking further out than most, B12's Telefone 529 with its recording of an automated incorrect phone number message carries an air of nostalgic puzzlement, while Preminition transports a diva vocal and hardcore piano roll into a zero-gravity soundtrack of space. Autechre's Crystel and The Egg offers the first steps towards the path of abstract oblivion that they would go on to travel throughout the post-AI years. Both pieces focus an acidic gurgle around some cut up vocals, its timeframe existing perfectly within a distinct hip-hop cylinder that brilliantly displays their roots within b-boy culture.

Aphex Twin appears under his alias The Dice Man, opening up the operation with a track that would become an alias in itself, Polygon Window in many ways formed the core sound of the Artificial Intelligence compilation and subsequent album series that followed it. Rolling post-acid dynamics, a strong knowledge of breakbeat techno and some serious subs keep the track in a full forward motion, Polygon Window still stands out as one of the most unbeatable techno tracks within Warp's discography. Elsewhere, chief ambient technologist Dr Alex Paterson put forward a four-minute cosmic ambient piece akin to his work as the central figure of which The Orb revolves around. Whilst Richie Hawtin made an appearance with his euphoric almost gabba track Spiritual High, produced under the name Up! his fellow Plus 8 producer Speedy J stepped in with De-Orbit, a track that you could say on reflection, almost helped shape the early steps towards what would turn into the deeper recesses of liquid drum & bass.

Warp co-founder Steve Beckett was quoted around the time of the Artificial Intelligence compilations release in 1992 as saying you started to hear tracks by B12 and Plaid and Speedy J that just didn't fit into any category, B-sides and last tracks on EPs. We just realised that they weren't meant for 12-inches, it was just that this was the only outlet for that kind of music. We realised you could make a really good album out of it. You could sit down and listen to it like you would a Kraftwerk or Pink Floyd album. That's why we put those sleeves on the cover of Artificial Intelligence - to get it into people's heads that you weren't supposed to dance to it!. This train of thought led to Warp putting together one of the most forward-thinking compilations to appear within the early 90s post-acid explosion, and many others tried to copy the formula but arguably no imprint ever came close to topping or even releasing anything that stands tall alongside Artificial Intelligence for its undeniably experimental, yet sheer futuristic scope and vision.

Listening back now, 30 years since its original release, it's striking how contemporary and fresh the music of Artificial Intelligence still sounds. While many tracks from those days still and will forever sound brilliant, many AI contemporary compilations have taken on the sheen of a more retro and throwback feel. When digested with a knowledge of what has been made within the last quarter of a century, the tracks that form Artificial Intelligence still carry a strong, almost outside of time feeling that's influence shines as strongly today as it did 30 years ago. A timeless record that will continue to point the way forward for electronic music for many years yet to come.

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Bruno Berle

No Reino Dos Afetos 2

LP | 2024 | UK | Original (Dell'Orso)

Release: 2024 / UK – Original

Genre: Organic Grooves

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Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil’s Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections” and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further.

Bruno Berle’s music lives between two worlds – a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that’s genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The album follows Bruno’s relocation to São Paulo, and the songs are a reflection of his past and present. A rebuke of former categorizations of his work in Brazilian music scenes, and an idea of where his music can move, unfettered.

Berle’s music is purposeful in being a true portrait of himself, and a reflection of the music, art, and fashion scenes he personally moves through. Berle aims to provide an entrypoint for Black queer joy in his music, in his storytelling, in his presence and vision as a creative. For him, it feels subversive to be playing MPB laced with dubstep and lo-fi, a sort of intentional sacrilege, capturing a dialogue of modernity in traditional music.

Berle wrote most of the arrangements and co-produced his new album, Reino Dos Afetos 2 with longtime friend and musical partner Batata Boy, who is also from Maceió; the album was recorded in Rio de Janeiro, Maceió, and São Paulo, his new home, and picks up the conversation begun in 2022 on Berle’s debut album No Reino dos Afetos. Both records are the result of a nonlinear but coherent seven-year music creation process culminating in these albums, holding hands across space and time.

“Tirolirole,” the first single from the record, was released at the end of 2023; sun-soaked rhythms and soft voice coat the song, the lilting refrain of “Tirolirole” throughout – hushed, gentle, but somehow almost tactile, a golden-hour moment unlocked in the mind. “Tirolirole” is a triumphant future classic about the temporality of a blossoming love, with Bruno’s stunning vocal soaring over melodies which ebb and flow like the waters on the Atlantic shore. Of the track, Berle explains: “Despite ‘Tirolirole’ being an expression that evokes my childhood, just like the light words about nature, the harmony, and the poetry are epic, carrying a great hope for love.”

In fact, the guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. The album happens at the genesis of meeting someone and falling for them, before the relationship is thrown into overdrive – set in a big city, against a backdrop of major life changes, rising energy, the sound of São Paulo.

Something transcendental emerges in “Dizer Adeus,” with an arrangement that echoes a gospel atmosphere (evangelical and Catholic environments were pivotal to Berle’s upbringing). On “É Só Você Chegar,” piano and flute gracefully intertwine, a dance, while “Quando Penso” skews sparser, the voice-and-guitar minimalism somehow cultivating an entirely different shape – somehow both cozy and melancholy, with the background sound of a rainy day. Coupled with the lo-fi aspects that shape much of the album’s personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle’s sonic alchemy, like on the mid-album instrumental “Sonho,” which feels like floating. “It’s the apex. It’s when lovers are sleeping together,” Berle explains of the feeling he wanted to encapsulate in the song.

On “Love Comes Back” Berle interprets Arthur Russell, the late Iowa musician who only reached greater visibility after he died in 1992. “His way of making music is similar to mine,” Berle explains. “He sings in a more fragile way, has more of an experimental way of recording, letting ‘chance’ appear in the final work.”

Even so, Berle doesn’t want his music to be buried in sentimentality – and the purposefulness of his craft serves as a sort of north star. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works – drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. But even then No Reino Dos Afetos 2 floats separately, a romanticism driven by a simplicity and intimacy, an open-ended possibility, Berle’s singularity as an artist at the helm of the ship.

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Mark Van Hoen

Plan For A Miracle

Tape | 2024 | UK | Original (Far Out)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs

I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go ’and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely

before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

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Bruno Berle

No Reino Dos Afetos 2

23,99 €*

The Harmonic Series Volume 2

Release: 2024 / UK – Original

Genre: Organic Grooves

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V.A.

3LP | 2021 | US | Original

46,99 €*

Grant Phabao Afrofunk Arkestra

Release: 2021 / US – Original

Genre: Electronic & Dance

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A collection of long-form works in just intonation by Kali Malone, Duane Pitre, Catherine Lamb, Tashi Wada, Byron Westbrook, and Caterina Barbieri. Each artist occupies an entire side of the collection's three LPs.

Curated by Duane Pitre, Important Records returns with its second volume of compiled works in just intonation. The Harmonic Series II, issued as a triple LP collection, features a series of long-form compositions by six of the most important emerging voices of contemporary experimental music;

Unlike equal temperament - the tuning system most commonly encountered in contemporary music - which equally divides an octave into 12 fixed notes, just intonation utilizes intervals of whole number ratios - chosen by a composer - to determine tonal positions, which can result in a highly individualised tonal language and holds the potential for more nuanced relationships and striking, sympathetic resonances. Rooted in ideas that trace their way across the last 2500 years - seeking to mirror the natural behaviour of sound within music - just intonation lays at the foundation for numerous Indian, Persian, and East Asian musical traditions, as well as a substantial amount of European music prior to the 17th century. Reintroduced into western music during the 20th century by composers like Harry Partch, Ben Johnston, Lou Harrison, James Tenney, Terry Riley, and La Monte Young, it has left an indelible mark on experimental practice ever since.

In the years following the appearance of The Harmonic Series in 2009 - presenting works by Ellen Fullman & Theresa Wong, Michael Harrison, Pauline Oliveros, Charles Curtis, and others - the broad interest in just intonation has continued to swell, inspiring Duane Pitre to curate a second compilation, exploring the work of a new generation of composers that have been drawn toward its remarkable potential.

The full scope of The Harmonic Series II engages the possibility of a multitude of intertwining sequences and relationships between its works. Kali Malone’s "Pipe Inversions” - played by Malone on a small pipe organ, joined by Isak Hedtjärn on bass clarinet - belongs to a larger body of microtonal organ works that have increasingly placed the composer at the forefront of contemporary minimalism and drone music. Thick blankets of shimmering harmonics - sliding at a glacial pace within a fractal structure of rhythmical and melodic sequence - converge as a poignant unwinding of cultural, temporal, and historical location, embedded within the disarming beauty of its interwoven tones.

Across the length of Duane Pitre’s "Three for Rhodes” - a chamber piece for ”unknown instrumentation” - deconstructed rhythms and melodic fragments swell in a dance of harmonic interplay, rising and falling within the work’s engrossing architectural complexity. Imbued with a startling sense of humanity, tonal footsteps and syntactic patterns flower with life, delivering an exacting image of the metaphorical potential of sound.

Catherine Lamb’s "inter sum” - one of a tiny number of available works to encounter the composer and renowned violist working on synthesizer - endeavours to break the visualisation of harmony as a vertical reality, rendering it multidimensionally in space. With its materiality drawn from Lamb’s own environmental field and filtered by the synth - presenting a radical rethinking of the terms of composition and musical mater - subtle tonalities and harmonics, embedded within sheets of textural atmosphere, culminate as a spectral vision of the latent musicality of the natural world.

A canon for eight-violins played by Marc Sabat, Tashi Wada’s "Midheaven (Alignment Mix)” - guided by the internal logic of its tuning system - shape-shifts into an elegantly poetic form of musical conceptualism. Interlacing long-tones bloom with complex harmonic interplay and delicate overtones, as two mirroring, overlain realizations of the composition - one moving forward as the other simultaneously moves backward - slowly converge toward a crescendo of dissonance at the midpoint, imbuing the work with emotive tension, before returning to a final ecstatic release.

Byron Westbrook’s "Memory Phasings”, composed and recorded on a combination of computer controlled modular synthesizers and a Yamaha Tx802, employs the ratios of just intonation as harmonic building blocks for texture. Shifting long-tones and insectile buzzes underscore patterns of rapid appreciations and carefully balanced punctuations, forming a shimmering collective of abstractions, that blurs the lines between synthetic and organic readings of sound.

Deploying just intonation as a means for psycho-physiological exploration, Caterina Barbieri’s "Firmamento” - composed for synthesizer - deftly intervenes with the expectations of minimalism, durational music, and drone. Brooding and ecstatic - pushing the possibilities of organised sound into unexplored realms via the triggering of emotional and mental states of being - across the work’s slow evolution, sublime tonalities ride a razors edge between darkness and light, colliding in dense layers that rethink ancient modes in futuristic terms.

Taking form within the gestures of six crucial voices of contemporary experimental music - Malone, Pitre, Lamb, Wada, Westbrook, and Barbieri - The Harmonic Series II sculpts a profoundly human vision of the potential of art, where the historic becomes present and future, and the divisions imposed by cultural and temporal boundaries dissolve. Like the generations that have embraced it before them, each artist harnesses just intonation as a means to progress toward unknown territories of creative possibility and to readdress how we hear, arriving at a musical space that is highly individual and personal - captured by the diversity of the works presented within - while speaking within a collective whole.

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LP | 2018 | EU | Original (Paris DJs)

Balance Presents Henry Saiz

Release: 2018 / EU – Original

Genre: Organic Grooves

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Limited edition of 250 copies only!
Only one copy per customer!
Access to groovy, funkin', rockin', psychedelic, revolutionary (etc.) African music as we've grown to like it at Paris DJs was not for everyone before the internet age. For Paris DJs co-founder Loik, it began in the early 80s when he met with a former Fela Kuti horn player, who introduced him to Afrobeat. When Loik arrived at Radio Nova in 1986 (he was radio programmer there between 1987 and 1997), he then discovered marvels of African Music (other than Fela), through the radio's vast record collection, which soon led to the word-famous "La Sono Mondiale" concept.
At the same time, Grant Phabao, in his late teens, discovered Congolese music through friends from Zaire. He gets access to Afrobeat in the mid-90s with a Fela Kuti CD gathering the "Zombie" and "He Miss Road" albums, which long-time friend Djouls brought back from his diggin' sessions in Paris. Many friends ripped and burned that CD, for sure. Then the legendary Daktaris album happened on Desco Records in 1998, followed by the beginning of the Antibalas, the Comet Records & Strut Records compilations in 2000, and soon after Soundway Records… the rest is history but that's roughly how African Music started for us at Paris DJs.
At this point we met online with Calumbinho on the Soulseek P2P network. Such a mind-bending experience… The man was sharing hundreds of full albums, all sorted by country, and had music from every corner of 1960s/70s/80s Africa! We asked for advice, he listed 50 records to begin with! All those records, digital files, influences & experience gathered together gave birth in 2006 to a series of mixes on the Paris DJs podcast, "African Mashed Potato Popcorn", blending old and new African music from all over the world. It was an instant smash, DJs from all over the world reaching out asking us to keep on focusing on this amazing music coming from Africa (or inspired by music from Africa).
Around that time, the Paris DJs crew met with musicians from Antibalas (Martín Perna, Duke Amayo / USA), and from the Poets Of Rhythm/Karl Hector bands (Ben Abarbanel-Wolff, Jan Whitefield / Germany). They had all played with Fela Kuti's guitar player Oghene Kologbo by then. The German guys had even started a band with him, the Afrobeat Academy, releasing an album together in 2007. Little did we know that from this point on, Kologbo and African music would grow to become a very important part of our lives.
We started collaborating with Samy Ben Redjeb from Analog Africa, Miles Cleret from Soundway or Quantic from Tru Thoughts, among many others very influential record collectors, for some exclusive mixes of rare afro/latin music on the Paris DJs podcast. In 2009 we co-organized the first Ebo Taylor show in Europe, with German musicians from the Afrobeat Academy/Whitefield Brothers/Jimi Tenor crew backing him along with Kologbo. Soon we helped open the Superfly Record Store and got our hands (and ears) on many rare, original African Records. Loik started recording Kologbo's second solo album "Africa Is The Future" (featuring Tony Allen and Pat Thomas!), Grant Phabao was producing his first afrofunk tunes, and all this new music was damn funky…
Phabao went on a trip to Benin and Ghana, where he ended up hooking up with Ben Abarbanel-Wolff, who was recording with Ebo Taylor and Pat Thomas there. After a two-year period during which Grant Phabao and Djouls partnered with famous Irish-born, Paris-based producer Doctor L, and released with Cameroonian artist Franck Biyong no less than 16 digital albums and conceptual compilations, the Paris DJs label was born in 2012, with the addition of poster artist Ben Hito to the gang.
Five compilations in the "Tropical Grooves & Afrofunk International" series were released, with artists from all over the world, featuring the first tracks from the Grant Phabao Afrofunk Arkestra project, with Grant Phabao at the controls and many guests from the now global African music scene adding their own, original touch. Most of those were compiled in the "Massive Hits From the Grant Phabao Factory" LP in 2015.
It was a long read, many years of learning and sharing back, but we wanted to tell how African music slowly but surely infiltrated its way into Paris DJs' daily life, which led to the Kologbo LP being released at the end of 2017, and to this Grant Phabao Afrofunk LP to be released june 2018, featuring 20 guests among which Tony Allen, Oghene Kologbo, Sandra Nkaké, RacecaR, members of Antibalas, The Breakestra, Brownout, Fela Kuti's Egypt 80, Jungle Fire, Les Frères Smith, Ebo Taylor's Afrobeat Academy, Osemako… coming from Paris, Berlin, Lagos, Washington, Austin or Los Angeles!

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Henry Saiz

3LP | 2023 | EU | Original (Balance Music)

34,99 €*

Fat Pop Standard Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Created over the span of two years, Balance 032 marks a creative high point in the career of Madrid-based artist Henry Saiz, and this marks his third appearance for the hallowed compilation series. Spread over an expansive three discs, it has given him the space to curate a truly stunning odyssey of creative expression-one influenced by everything from AI to his recent Adhd diagnosis.

As ever, he has gone above and beyond to ensure that the mix is crammed full of exclusive, unreleased material-nearly 75% of the music included-both from himself and many of his favourite producers and collaborators, from unknowns through to household names like Röyksopp.

"Since I've done two Balance compilations already, I didn't want to repeat myself" he says. "My first, 'Balance 19', was very important for my career and I knew people would be comparing it with this new one, so I put a lot of effort into it to make it more attractive and to be able to gain more control in the final product sound-wise." - Henry Saiz

Created in Ableton, which he uses for his DJ sets due to its unlimited creative functionality and precision ("I get bored easily with CDJs"), the mix makes great use of many effects, layerings, and production techniques to enhance the beautiful sounds that lie within.

The first part takes a freestyle approach to find a sweet spot between home listening and club warm-up vibes, all woven together through a narrative about the connection between the past, the future, the reinterpretation of old concepts and AI.

"I used a lot of AI techniques to add creativity to the songs, from cloning vocals to generate atmospheres, to creating grooves using text-to-music always like a tool in order to add to, and not to replace human creativity. Ideally, we will work with AI as a co-pilot also in the studio to make boring technical process faster and focus more on what really matters: ideas to bring our human experience into the music form." - Henry Saiz

Packed with symbols and messages, its changing tempos span the creepy vaporwave intro of Hal Incandenza's 'I Know What You Are' - setting the tone perfectly with an AI voice telling a human "I know what you are, I know where you come from" - through to chugging electronica, dubby grooves, Indian rhythm, Balearic spoken word, sparkly breakbeats and teases of the clubbier sounds that await in the next disc. The euphoric climax of Saiz's rework of Swedish duo Genius of Time's recent release 'Sunswell' is the perfect bridge into Disc 2, a whirling firework of pretty melody and spine-tingling arpeggiation. The breadth and surprises of this first disc would have made it a standout piece of work on its own, but of course that's never enough for Saiz...

The second part leans towards the sounds of Henry Saiz in club mode, beginning with the warm blanket of sumptuous Milio's 'Dew', building gradually and flitting between the deep and the soaring. From lush progressive house to the heavenly breaks of Brassica's epic 'Celestial Suspension' through some truly staggering new psychedelically tinged material from Saiz, it's a mix packed with magical melody. The disc crescendos with the scintillating riffs of Henry Saiz & Imalgi's 'Kickboxer', where synths are made to weep digital tears, and the stunning liquid breaks and heartfelt vocals of Moonlight Wolves 'All I Need (Third Son Remix)'. As ever, all is not what it seems in his sets, with heavy editing making these truly unique versions.

"People try to Shazam my sets and usually don't get the ID because of all the heavy editing I do while I play. Lately I learned this hyperactivity and need for challenging projects that motivates me comes from my Adhd. So, I guess the DNA of my sets would be coherent eclecticism but also a melodic journey that changes and evolves straight to a climax." - Henry Saiz

The final chapter of this sprawling compilation explores the increasing tempos of the current era, expanding Saiz's DNA into new territory while maintaining all the classy elements of his sound.

"The current vogue for faster tempos may be due to the constant stimulation we get from technology and how we process information nowadays. My DJ style has become faster because the world is going faster. My DJ sets are now moving through 110 to 140 bpm territories. I didn't enjoy much music with faster BPMs a few years ago because it felt very overwhelming and had too many elements, but now people are producing music that works great at faster speeds because they have less elements and a groove that works that way. As long as the track takes you somewhere and makes you feel something through melody, that's what counts for me." - Henry Saiz

A deep and spacey feel early on with plenty of dubby touches gives way to meatier sounds, psychedelic tones woven into the heavier rhythms as the tempos gradually creep upwards and elements of trance abound through a flurry of Saiz exclusives. A grandstand finish is guaranteed by way of his incredible chugging-based rework of Moonlight Wolves' 'Mantra', the light dreamy beauty of Henry Saiz & Somfay's 'To Steal a Star from The Night' and the intense synth overload of H. Haze's 'La Fuerza'. A perfect end to a truly remarkable body of work.

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Paul Weller

LP | 2021 | EU | Original (Polydor)

Fat Pop Limited Standard CD

Release: 2021 / EU – Original

Genre: Rock & Indie

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We may be cursed to be in the midst a global pandemic, buffeted by all of its stresses and pain. But everyone knows that art provides succour, that music is the most reliable balm. And for many there is further significant comfort to be drawn from the knowledge that Paul Weller is in the midst of an unbelievably prolific purple patch. Paul Weller will not let us down when we need him most.

On May 14th, Paul Weller releases his 16th solo album since his self-titled debut in 1992, his fourth in as many years and his second in just under twelve months following June 2020’s magnificent, chart-topping On Sunset. It’s not hyperbole to state that this new album, titled Fat Pop (Volume 1), is among his most compelling collections, bar none, including all of his era-defining work in the 1970s and ‘80s with The Jam and The Style Council. It’s an absolute scorcher.

When lockdown was declared in March 2020, Paul Weller decided immediately that he wanted something to focus on, since it seemed unlikely he’d be able to tour On Sunset as planned that summer.

“I had lots of ideas stored up on my phone,” he explains down that same handset, speaking from outside his London home, “and at least this gave me an opportunity to develop them.” So he started to record songs on his own, doing just vocals, piano and guitar, then sending those sound files to his core band members such as drummer Ben Gordelier, Steve Cradock on guitar and various other instruments, and bassist Andy Crofts for them to add their parts. “It was a bit weird not being together, but at least it kept the wheels rolling. I’d have gone potty otherwise.”

The band reconvened at Weller’s Black Barn studio in Surrey during the summer when restrictions were lifted to finish the work, with several of the songs being cut live. By this stage, the shape of the album was clear to all. Weller wanted to deliver an album of singles, twelve short, distinct blasts, each strong enough that they could stand alone if so desired.

“That was a conscious decision,” he confirms. “I even thought about putting every song out as a single first then gathering them all on an album, but that wasn’t practical at the moment. They all have that strength and immediacy, I think, and they’re all short, three minutes or so maximum.”

Producer Jan ‘Stan’ Kybert was so taken with the concept that he half-jokingly suggested that the album be called Greatest Hits. “I quite liked the idea and every song does stand up as a single, I think,” chuckles Weller, “but no, we couldn’t do that really.”

Instead, he plumped for Fat Pop (Volume 1). “I thought we’d add Volume 1 to it just to keep my options open in the future for a second volume!” The title track, a tight, heavy blast of ultra-modern funk, is itself the conceptual key to the whole album. “It’s a celebration of music and what it’s given us all. No matter what situation you are in, and we’re in one now, music doesn’t let you down, does it?”

As ever, Weller’s sonic masterplan was to avoid whatever had recently preceded it. “After [2018’s] True Meanings I thought I wouldn’t have any acoustic guitars for a little while, so I’ve largely avoided those with On Sunset and with Fat Pop,” he says. “But more than anything I wanted something vibey, something we could play live.” He laughs ruefully at the irony of that. “God knows when that will be, bearing in mind where we are with the virus. But in the imaginary gig in my mind I can see us playing all of the songs on Fat Pop live, along with the songs from On Sunset, blending them with some of the old favourites too. What a great set that would be.”

Live is where he imagines On Sunset and Fat Pop (Volume 1) working in tandem, because they don’t act as companion piece albums otherwise. “On Sunset was quite lavish in places, whereas with this one I wanted to limit it in some ways, make the production less expansive.”

Beyond that desire to keep it frill-free and tight, sonically Fat Pop (Volume 1) is a diverse selection of sounds. No one style dominates. There’s the synth-heavy, future-wave strut of Cosmic Fringes, the stately balladeering of Still Glides The Stream, Testify’s moving-on-up soul, and the kind of dramatic three minute pop symphonies on Failed, True and Shades of Blue with which Paul Weller has hooked in generation after generation of devotee.

More than sonic plans, though, Weller set himself the same task as he does before any recording. “Whenever I make an album I’m always just trying to at least match what’s gone before because each time I think the bar’s been raised. If all goes to plan, sometimes I manage to go over that bar too.”

Sometimes he does, sometimes he really does.

Fat Pop (Volume 1), the story behind each song:

Cosmic Fringes

A dramatic entrance to Fat Pop (Volume 1). Cosmic Fringes pairs a minimal, pumping electro swing with a deadpan vocal that detonates an unspecified poseur and blowhard. “I’m a sleeping giant, waiting to awake/I stumble to the fridge/then back to bed”.

“It’s not about anyone in particular,” suggests Weller, “but I suppose it could be about a keyboard warrior, someone who is constantly brainstorming ideas but never gets around to doing them. Someone talking the talk, but never doing anything.”

“When I first did the demo it was quite punky, a bit like The Stooges. It doesn’t sound anything like that now because then I had the idea of stripping it all back to just the drums and bass, putting those synths on it. It’s got a bit of motoric feel to it and a little bit glam rock too, I think.”

True

A song with all the attributes of the greatest Paul Weller numbers: fire in its belly, questing lyrics, boss horns, flashes of guitar fury and a yearning melody you awake humming daily. It’s also a tremendous vocal, shared between Paul and Lia Metcalfe, the young Liverpudlian singer with The Mysterines.

“I really like her band and I really like her singing,” he says. “It makes a massive difference that we sang it live, in the same room. She’s got a really powerful voice and I wanted to write something for us to sing together, so I did. Then I just sent the phone demo to Lia and two weeks later we cut it. That was one of the last things we did for the album, in around September”.

Fat Pop

That brilliant, heavy bassline? “I did that. When we recorded it I was actually thinking about Cypress Hill, doing something that sounds like a DJ Muggs production. It’s got a bit of that. It’s my favourite song on the album, I think, about all the times music’s been there for me.”

Shades of Blue

A classic three-minute English pop kitchen sink drama, written by Paul Weller and his daughter Leah, who joins him on vocals. “Leah wrote the chorus for it and helped me finish it up. I wrote the verses. Reminds me of a suburban drama, a play.”

Glad Times

Sweeping, wistful, sparkling in shades of blue, Glad Times’ winning melancholia has been in the back of Weller’s mind for a while. “I wrote this with Tom (Doyle) and Ant (Brown). They usually send me a backing track and we work on it from there. It’s been around for a while, nearly made it onto On Sunset but didn’t quite fit. I really liked it, though, so I’m really glad it made it on to this album instead.”

Cobweb / Connections

Pastoral introspections, featuring a lovely acoustic solo by PW and a string score by Hannah Peel. “I think the song is saying that the more you can be yourself and be happy with yourself, the more you change into something better. It’s not just good for you, it’s good for everyone else as well. ‘Save yourself and save everyone around you too.’ It’s from observation but I suppose it’s about me too.”

Testify

Superfly strutting, cut live in the studio with Andy Fairweather Low adding distinctive vocals and Jacko Peake on fine flute and saxophone. When allowed out of the house, it’ll be a future live favourite.

“We had actually done it live two or three years ago,” says Weller, “but while I loved the groove I never really got a grip on the song. Then I did this charity gig in Guildford, one of the last things I’ve done probably, some Stax songs with Andy Fairweather Low. Our voices sound so good together and he’s such a lovely fellow, so I sent him the backing track. As soon as lockdown was lifted he came down to the studio for the afternoon. We cut it live and that was it.”

That Pleasure

In amongst those soulful strings there is some barely contained rage in Weller’s voice as he sings ‘Lose your hypocrisy.’ “I suppose it’s my reaction to the whole Black Lives Matter movement,” he explains. “You’re always on tender ground writing about that, but, regardless of my colour, any human being should be disturbed. You should be appalled and disgusted and shocked by those images of George Floyd being killed in the street. It has to stop. It’s a question for everyone.”

Failed

‘All the things I never get/and all the things I never meant/and all the things that make no fucking sense…I’ve failed.’

“Yes, I’m asking myself the question,” admits Weller, a man who has never been afraid of self-reflection in his songwriting. “It’s an angry song because I wrote it right after a massive row with my wife. But I like it. It’s honest. It’s not how I feel all the time, but it is how I feel some of the time. I’m just talking about me as a man. We all measure success in different ways.”

It’s also one of his favourite songs on the album, a stand-out.

Moving Canvas

A chunky, percussive groove, with the feel of Traffic but updated for the here-and-now.

“It’s going to be great live that one. I wrote it about Iggy Pop. I hope he likes it if he ever gets to hear it. It’s my tribute to him, even though it doesn’t sound anything like him. Aside from all the great records he’s made, as a performer he’s high art. It’s all about the Igster.”

In Better Times

A plaintive plea with some beautiful sax and guitar breaks. “Cold in your eyes, don’t you know you break my heart in two”.

“It’s me talking to a young person who is going through something, addiction or mental health pressure, or whatever, and just saying it’ll be alright. Just get through this bit and there’ll be better times to come, you’ll look back and you’ll see it differently.”

Still Glides The Stream

A stately collaboration between Weller and long-time guitar foil Steve Cradock.

“I had the chords and possibly the melody, which I sent to Cradock. And he sent me back a poem and I edited that, then we sent it back and forth by phone. Lockdown songwriting. I just liked the poem. In my mind, I was thinking about our road sweeper who’s a lovely fellow. I started thinking that there’s so many people in this country who form the infrastructure of it and without whom we’d be fucked. But they’re looked down upon, not really noticed. So I was imagining their story. I did find out that there’s a book of the same name (by Flora Thompson) and Cradock said he had seen it in a shop, so that’s where the title comes from. I just liked the poetry of it. Steve’s a very soulful fella.”

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Paul Weller

CD | 2021 | EU | Original (Polydor)

12,09 €* 21,99 € -45%

Hugo Neon Indie Exclusive Orange Vinyl Edition

Release: 2021 / EU – Original

Genre: Rock & Indie

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Loyle Carner

LP | 2022 | DE | Original (EMI UK)

LP | 2018 | US | Reissue (Fat Beats)

Release: 2022 / DE – Original

Genre: Hip Hop

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In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

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Brownout

Fear Of A Brown Planet

LP | 2022 | UK | Original (EMI UK)

Release: 2018 / US – Reissue

Genre: Hip Hop, Organic Grooves

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Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album (out May 25th) Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit.

Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. “When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.”

Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. “I thought their sound would work covering Public Enemy songs,” Abajian says, and, “it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.” Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: “imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.” While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark “Speedy” Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches. But don’t listen expecting to hear paint-by-numbers recreations of classic Public Enemy jams. “Our approach is never in the tribute sense,” Adrian explains. “We’ve always taken it and made it our own, whether it’s the Brown Sabbath thing or this Public Enemy thing.”

Coming off numerous tours as Brown Sabbath and even a stint backing the late legend Prince, Brownout is arguably the tightest and funkiest band on the road today and they’re psyched to bring this revolutionary music to the people. For a band without an overt political agenda, they collectively couldn’t resist the opportunity to play this music live, especially now. “If there’s any way that we can use the already political and protest nature [of P.E.’s music], we would like to try,” Beto says. “The album’s title, Fear of Brown Planet is definitely a relevant idea today and we’re not afraid to put it out there, because we want to speak out.” By reinterpreting these hip hop classics in their unique style and channeling the spirit of Public Enemy that first echoed around the world and captured their imaginations all those years ago, Brownout is doing exactly that.

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Loyle Carner

Hugo Black Vinyl Edition

So Many Other Realities Exist Simultaneously

Release: 2022 / UK – Original

Genre: Hip Hop

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Atmosphere

CD | 2023 | US | Original (Rhymesayers)

16,99 €*

Instant House (Joe Claussell)

Release: 2023 / US – Original

Genre: Hip Hop

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In their 25-plus years as a duo, Atmosphere's rapper Slug and producer Ant have built a legacy that is embedded in the fabric of underground hip-hop. Rising in the ranks of Minneapolis, their debut album, Overcast! was released in 1997. Presented as a flurry of vignettes, and paired with an unending touring schedule, the album was a springboard from which the group was able to become a fixture in the midwest music scene. It wasn't long before their songwriting evolved from telling inventive third-person tales to delivering introspective first-person eviscerations, and by the early 2000's Slug would jokingly birth the phrase "emo rap" in an interview before publications began running with the genre tag to describe them and others. In the decades since their debut, Atmosphere has maintained a course of rigorous output, releasing over two dozen studio albums, EP's and collaborative side projects in as many years. The venerated duo have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that helped shape him. Meanwhile, Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop's pioneering DJ's and producers, creating his own trademark sounds and providing the pulse for songs about life, love, stress and setbacks. At its essence, Atmosphere has been a musical shepherd, guiding generations of listeners through this thing called life. Their newest album, 2023's So Many Other Realities Exist Simultaneously, captures perhaps some of Atmosphere's most personal work to date. The odyssey opens with a gentler approach than recent works, with the lead-off track "Okay" seemingly focused on comforting and reassuring the listener. As Slug raps over one of the most twinkling productions Ant has ever released, the song lays the groundwork for an album-length exercise in fumbling consciousness. Yet, as gently as the album begins, there's an unmistakable sense of unease from the outset that continues to evolve throughout the project, as Slug and Ant weave the listener through indistinct themes of insomnia and woe. From the subtle panic at the heart of songs like "Dotted Lines" to the overt anxiety of songs like "In My Head," the unease across tracks is unmistakable. Yet, as the tears might begin to well, they find resolve again through songs like "Still Life," whose hopeful outlook undercuts the tensity of the album. All the while, the rhythms on So Many Other Realities are some of the most inventive of Atmosphere's career. Ant's playful percussion on "In My Head" acts as a nice counterweight to the roiling writing, while the drum patterns on "Holding My Breath" and "Bigger Pictures" allow Slug to play with his flow to emphasize the anxiety driving the record. Where previous records in this most recent act of Atmosphere's career have been focused on emphasizing the parts of life that carry the most meaning_family, brotherhood, purpose_So Many Other Realities is an almost unnerving excavation of paranoia inspired by the general malaise of a pandemic weary society full of civil unrest. The tension in these songs is palpable, but the album's mere presence is a testament to the hope that has to underpin even the most stressed out epiphanies. The greatest risk Atmosphere has continued to take across their career is that of being vulnerable and unafraid. The world has inconceivably changed since Slug and Ant entered into the underground hip-hop scene, but despite the seismic shifts in music and culture, they've held strong to a foundation rooted in sly innovation and truth. The duo's relentless release & touring schedules only tell a piece of the story, but spending time with their records_whether you're a new fan or a longstanding listener_reveals a pair of friends who love to create and live for unabashed self-expression. Their bare reflections on life and the mundane traumas and joys that make living worthwhile are a gift, and that is Atmosphere's legacy in and of itself. If the music stopped tomorrow, the duo would go down as two quiet titans who changed the course of everyman rap forever.

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Lost Horizons

12" | 1993 | EU | Reissue (Isle Of Jura)

13,59 €* 15,99 € -15%

CD | 2022 | EU | Original (EMI UK)

Release: 1993 / EU – Reissue

Genre: Electronic & Dance

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Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

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Loyle Carner

Hugo

21,99 €*

The Sun Shines At Night - Giorgio Moroder In Finnish 1972-1989

Release: 2022 / EU – Original

Genre: Hip Hop

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V.A.

2LP | 2022 | EU | Original (Svart)

The Plain Truth Colored Vinyl Edition

Release: 2022 / EU – Original

Genre: Organic Grooves

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Black vinyl, insert

Giorgio Moroder in Finland

The pioneer of electric pop music, Giorgio Moroder (born April 26, 1940 in Ortisei, Italy) is an internationally acclaimed songwriter and producer who left his trace also in Finnish popular music. Several Moroder’s compositions and productions were released in Finland with Finnish lyrics in the 1970s and 1980s, when Moroder had his most creative peak. This compilation includes twelve Finnish Moroder-covers from early bubblegum pop to electronic disco.

Giorgio Moroder began his musical career as a singer. He gained success performing bubblegum pop in the late 1960s. He wrote some of his hits himself, but he also sang songs written by others. During his singer years he succeeded with songs Looky Looky (1969) and Son of My Father (1971). The latter became well known also in Finland, where it was covered by one of the most famous Finnish singers in 1960s and early 1970s, Ilkka Lipsanen alias Danny. The song found its way to Finland via Britain, where British band Chicory Tip had covered it first and made it to the charts with the song.

Danny was not the only Finnish singer in the early 1970s who looked at Moroder’s repertoire when searching for good songs. Koivistolaiset was a singing and dancing duo of sisters Anja and Anneli Koivisto who were well-known celebrities in 1970s Finland. They released Moroder’s composition Good Grief Christina as On siitä aikaa in 1973. This song was also discovered from Chicory Tip’s repertoire.

Cheerful and danceable bubblegum pop was an early 1970s phenomenon and in Finland it was the most popular music played in discos during those years. In the mid-1970s the style called disco music was born and the popularity of bubblegum pop faded. Also Moroder quit writing bubblegum pop and got interested in disco and electronic music. Synthesizer and drum machine technology developed and created new possibilities for producing electronic disco that can now be seen as proto-techno.

Virve Rosti was one of Finland’s most popular disco and pop singers in the late 1970s with her strong soulful voice. Rosti’s fourth solo album in 1979, Oon voimissain, was packed with her versions of late 1970s disco hits like Ring My Bell, I Will Survive and Knock On Wood. The album included also two Moroder’s compositions originally released by American disco group The Three Degrees, Antaudun (Giving Up, Giving In) and Ohari (The Runner). Both are excellent cover versions compared to the originals, even though the long instrumental section in the middle of The Runner is cut to a shorter one in the Finnish version. Rosti’s singing performance is also high quality.

Among Rosti one of Finland’s most popular female disco singers was Mona Carita, whose second album in 1980 was called Soita mulle and named after her cover version of Moroder’s composition Call Me, originally released by Blondie in the same year. Mona Carita’s version with lyrics by Raul Reiman is still among the best known Finnish disco and pop covers of the era.

Moroder’s most creative era ended in the early 1990s, though he has returned to music business within the last ten years. Finnish record producers also began looking in other directions when searching for songs. During the 1980s it became less and less popular to make Finnish cover versions of international hits. There were several reasons for this, from the improving quality of Finnish compositions to improvement of Finnish people’s understanding of other languages. When the audience began to understand the English lyrics of international songs, there was no need to make Finnish versions of them anymore. However, Moroder’s work is still recognized and played frequently today, and the same goes with the best Finnish cover versions of his compositions.

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Maurizio Bianchi

LP | 1983 | EU | Reissue (Verlag System)

31,99 €*

Infinity Spectrum Transparent Orange & Red Vinyl Edition

Release: 1983 / EU – Reissue

Genre: Electronic & Dance

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Postfaction OF THE Plain Truth When in the cold spring of 1983, I set about decomposing these elegiac synthetic - concrete suites, my decadent vision of life was taking a brighter turn, and in fact the atmospheres that pervade the whole work, enriched by the emotional notes of a keyboard of violins, reflect my thirst for visceral eternity. The title therefore, “The Plain Truth”, follows my research directed towards the infinity of the human soul, one step away from spiritual truth, for the benefit of the loyal supporters of the plain electro-neuronal sound. (M.B., August 2021)

When I started my record label Broken Flag in 1982, one of the people I really wanted to work with was Maurizio Bianchi. His album “Symphony for a Genocide” was such a haunting, evocative record that I needed to get in contact with the man who made it. We made contact and remained regularly writing letters to each other, mine in my unintelligible scrawl, his in his red ink on photocopy paper. He was massively prolific and I soon became a distributor for his fantastic early albums like “Regel”, “Mectpyo Bacterium”, “Mörder Unter Uns/Neuro Habitat”, “Menses”, “Endometrio”, “Carcinosi”, “Das Testament” and “Armaghedon”, albums I still love to this day. He kindly contributed tracks to Broken Flag compilations as well. Releasing an album by him was always going to be high on my list of priorities and when he agreed I was overjoyed. He said he wanted a colour cover and I was running the label on a shoestring budget but I wanted him to be happy so I agreed. He sent me two polaroid photographs which we had blown up to cover size and are the pictures on the front and back cover that you see today. He wanted to release records as Maurizio Bianchi in the future rather than just as M.B and asked for the name on the cover to read “M.B. = Maurizio Bianchi”. Although the record has the catalogue number Bfv3, it was actually the second vinyl record I put out because once I heard it, I didn’t want to wait for the first Ramleh album (bfv2) to be ready. I had been slightly apprehensive about what the record would sound like because just before he sent it, he told me that he had become a Jehovah’s Witness and seemed to be going through a very happy life-changing experience. He was in a relationship with the “T.D.” of the second side track “T.D. 56”, so I thought maybe the music would be too light sounding or upbeat and when I heard it, it certainly wasn’t what I was expecting but it was stunningly beautiful but still with some of the sadder, ominous melodies I loved so much. My fears were unfounded. It was a classic. Still one of my favourites to this day. I’m very proud of it. I get a co-production and co-direction credit on the sleeve but in reality all I did was provide the money and arrange for the record to go into production. I had no influence on the music itself or the cover pictures. Maurizio has made so many records that it’s easy to get lost knowing where to start but I think this album is a good entry point and is one of his very best along with “Mörder Unter Uns”, “Regel”, “Menses” or “Symphony for a Genocide”, although you can’t go too far wrong with any of his wonderful music. As I sit here listening to it again it takes me back to 38 years ago when I first heard it and knew that I was going to be lucky enough to release a classic for the ages. Just 500 vinyl records exist from that original Broken Flag release. They are out there somewhere except for the one I have right here which will be with me until I die. It’s great that it’s coming out on vinyl again and I hope if you’re hearing it for the first time you adore it like I do. “To all the redeemed people”. (Gary Mundy, August 2021)

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Aural Imbalance

2x12" | 2024 | EU | Original (Spatial)

37,99 €*

Live In Roma 1980 Black Vinyl Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Aural Imbalance has enjoyed a colourful and celebrated journey through music over the years, taking in ambient soundscapes, deep house and of course, a pioneering role in atmospheric drum & bass. With Spatial, he has unearthed a pure, varied musical prowess seldom seen, with the ability to control both the lighter aspects of the mix as well as expert breakbeat craft. Infinity Spectrum showcases the breadth of talent Aural Imbalance possesses in one incredible package, not to be missed.

A1 - Aurealis Opening the album with a wonderfully serene track, Aural Imbalance delicately rolls out his trademark smooth ambience with building cymbals and an energetic break merging perfectly in the mix - along with a great, pounding undertone of bass. Riddled with old-school sensibilities, Aurealis layers the building blocks until the track opens up further through a superbly lush breakdown, blooming like a flower in the summer sun before the breaks return.

A2 - Glistening Stars Washing strings and the chitter-chatter of playful effects introduce Glistening Stars, before familiar, crisp old school breaks steal the limelight. A happy earworm melody soon reveals itself, and the breaks are gradually filtered back in following an other amazing breakdown before the melody takes on new life. Packed with detail and soul, this track will repeat on you long after you've moved on.

B1 - Alpha Curious, apprehensive tones punctuate a fascinating intro, with a deep old school bassline creeping out first to greet us, before the hi-hat laden break loses its inhibitions and roams free. Crafting a deliciously textured atmosphere, Aural Imbalance continues to showcase the breadth of his production techniques in his Spatial form, flecking the track with sumptuous melodies to create yet another gem.

B2 - Stargazers This piece opens with a special blend of quiet, epic serenity, evoking hope and wonder as amen cymbal work and a stabbing snare-heavy break pattern rise and fall in the surrounding symphony. The quietly musical bassline plays a key role in the aural world-building here, complementing the breaks it harmonises with superbly. Aural Imbalance allows the composition to breathe and flourish for a superbly executed final act. Delightful.

C1 - Slow Motion Introduced with quietly filtered breaks, Slow Motion dials back the pace with a break pattern which relaxes the snare while still maintaining a playful energy as the kicks and bass bumble along below. A uniquely atmospheric yet eccentric melody takes shape with dreamy pads filling the backdrop, and calming scatterings of echoing effects colliding and combining to generate a blissful collage of sound.

C2 - Apparition Switching up the vibe we have Apparition, which boldly utilises long, tranquil yet purposeful pad work before an immense break pattern riddled with stark snares and a jumpy bassline which rides the smothered kickdrums so well, they appear to be fused as one. The breaks on this are truly special and will move the discerning dancefloor for sure, Aural Imbalance continuing to reveal a never-ending depth to his sound.

D1 - Artificial Satellite Introduced with smooth synths and DJ-friendly hi hats, Artificial Satellite sees Aural Imbalance laying down a fresh showcase of old-school breakbeats, laced with that inimitable Spatial flavour. A swirling low-key sci-fi vibe punctuates the breakdown before the beats re-emerge. A deep, brooding bassline pulses beneath throughout, while the perfectly executed breaks enjoy their final flourish.

D2 - Unknown Forces Finally, up steps Unknown Forces for a blistering finale to the LP. Aural Imbalance is at his amen-editing best here with a truly superb showcase of analogue break patterns to nourish the ears and set pulses racing on the dancefloor. Deep bass elevates the gentle intro before thumping kicks begin an epic workout, chopped to perfection with synths and strings flying gracefully above. We couldn't have a Spatial LP without an amen banger could we? What a way to end

Words by Chris Hayes (Spatial/Red Mist)

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Sun Ra

3LP | 2023 | EU | Original (Holidays)

74,99 €*