Deluxe triple LP set containing both vocal & instrumental versions plus slipmat and the "Bizarrebox" tee.

Deluxe triple LP set containing both vocal & instrumental versions plus slipmat and the "Boombox" tee.

Illusion007 has a licence to kill, coming courtesy of Illusion Family members Acid Mondays with a stunning remix at the hands of Detroit legend Delano Smith. The 'Salvia Sessions EP' takes you on a rhythmic, hypnotic, tribal laced House journey into the inner workings of the cosmic duo's minds. Lead track 'Got To Get Higher' hypnotic house vibe is pumped along by the duo's cajual-esque drums, which intertwine beautifully with layer upon layer of vocals, FX and a thunderous sub-bass to create a monster of a club track ready for the biggest dance floors. On remix duties Detroit's Delano Smith for his first outing on the label and boy he does deliver. Delano pumps up the tempo and vibe and builds an insatiable groove around his typically classy motor city beats and eerie strings, delicately seducing elements of the original hooks in and out of rework to create a mesmerising, loopy dance floor House bomb! On the B-side, the duo contrast the A-side with two tracks which are a little deeper and take their inspirations from many a Monday in Ibiza. 'Me! I'm Over Here' builds its structure around their typical solid drums and layered vocals, pumping along consistently bar two long breaks, which provide the track with two much needed breaths in preparation for the fist pumping that commences after the beats kick back in. 'Watching Eastwood' takes a more slung back, sultry vibe, showcasing a deeper side to the duo's usual pumping club tracks. The suggestive vocals entice you in and the funk of the b-line and beats get the head nodding and the hips shaking. This EP is prime dance floor material and reinforces the fact that Acid Mondays are a cosmic, tea-drinking force to be reckoned with!! Acciiiiidddddd!!!

‘Polemic’ is yet another genre bending, tempo shuffle that brings a powerful acid line to the table. A favourite with the likes of dBridge, Om Unit, and Sam KDC as well as label head Presha, this is a tune that truly goes back to go forward.

Struments Records starts 2013 launching Nuevo Dia EP, second release of the label from Barcelona. In this occasion the reference is signed by the Catalan duo Aster, which counts with high quality remixers such as Benjamin Damage and Dexter. Nuevo Dia, the homonymous topic that starts and gives name to this second reference Struments Records, backs seven minutes in which multiple and varied melodies of different natures mix up with rhythmic patterns coming from a dynamic bass and evoking feminine vocal samples. A cut treated with strong dynamism in which the allusion of movement is constant. In Placido Domingo an acid bass line goes along the minutes transforming into the main character. The theme goes on for five minutes at a slower pace responding to the classical patterns of acid-house, introducing initially percussive rhythms, followed by dynamic involving notes and ending with a fantastic melodic take-off. The remix brought by Dexter increases and decreases during seven minutes, converting the original melody into an easily adapting scale to the first hours of the night. Using vocal samples it gives a surrounding perspective and introduces a powerful bass perfectly suitable for this newer clubber version of Nuevo Dia. Benjamin Damage bends Nuevo Dia with frequencies and filters, darkening brief melodic spaces to introduce a powerful and raw drum which reveals a postindustrial background through the late hours of the night. The monotonic rhythms of this reconstruction include in itself a progression of a surrounding physical and mental dance.

Following Bullion's 6 track EP and Nautic's debut release, Blludd Relations is the third chapter in Deek's short history.
Brimming with party sausage pomp, craven funk, pudding bowl pop and jazz for logs, 'Blludd Relations' is music of the frabjous for the Reverend R. Soul. Their self-titled album will be released May 6 on Deek with ‘Even Steven’ as the first single.

Ever since they were young boys these blood brothers (Him Lo and Clever One) repped the culture. MC'ing was the last element of Hip Hop that they took their hands to and Philly was always a major city for B-Boy culture. As well as cats like Steady B, Schooly D and Cool C doin music, the graf and breaking scene went as hard as anywhere. Him-Lo remembers that you could feel Hip Hop "in the air" back in the late 70s and early 80s. Even goin out for a ride in his parents' car he was in awe of the throw-ups and pieces which coated the inner city walls. As a kid he always knew he'd never be able to shake it - he'd be livin Hip Hop for the whole of his life. Ha, and that's been a while - Him-Lo is now 39 and his younger brother Clev One is 35 - and this is the first time they have released a physical product. Why?

The boys have been droppin rhymes since around 1992, when they started to become more serious about the craft. They were involved in a part-time crew called Bermuda Triangle. It was hard gettin stuff done cause members were in and out of jail or dealing with various addictions. The brothers too had been naughty boys!! Typically, they were both thrown out of their respective high schools for writing on the walls and before long they were jackin' cars. They were introduced to Lo-Life B-Bill through a chick they knew called Big Shirley who used to go out boostin' and would hide the gear in her fat rolls (!!). B-Bill AKA Michael Culley, one of the founding fathers of the Lo-Life movement, had moved from Brooklyn New York and the boys started to hang out around 1993 and that's when their Lo boostin addiction began. Cats didn't have money to cop Lo, so boostin' was the only way to look dipped. The brothers would be out on the daily destroying racks. I asked Him-Lo about any particular boostin adventures he'd been on. He told me about one mission that always made him laugh when he looks back. He'd been boostin for most of the day, in and out of different stores in Philly. In one store that afternoon they noticed some store workers talkin on walkie talkies, so they bustin out and Him's homie Ant jacked a Cutlass Ciera. They drove the stolen vehicle down some back streets and got caught up in (of all things) a police block party. Appropriately Lo, they found themselves swervin between police horses and cars, while carryin mad garms and ridin in a stolen vehicle. Him remembers just jumpin out the car while it was still rolling and sneakin' off down the subway stairs and gettin the hell out. They always had a lot of fun and always ended up with ill GEAR. Welcome to Da Buze Bruvaz....

One of THEE greatest guitar-heavy psych records in the world, “Dark Round the Edges”was originally issued in an edition of around 50 copies, mostly for friends, family, and the odd record company. Its reputation has since blossomed into something resembling a redwood, or perhaps an original Van Gogh. This album is the holy grail for lovers of fuzz-driven hard rock, and has been the most sought-after privately pressed LP on the planet.

Limited edition of 100 on colored vinyl!

Limited edition of 400 on black vinyl!

‘Grammatically Incorrect’ traverses Synth Pop and Post Punk to create an interesting but non-derivative blend that will at times find you humming along, and at times leave you hypnotised, proving to be a cohesive and well rounded debut that bodes well for this exciting act.

Limited edition vinyl, numbered series of 500. Mastered by Kevin Metcalfe of The Soundmasters, UK Artwork by the acclaimed album art designer, Arnold Steiner (AS1) Full color ultra-matte finish jacket, insert and labels 140g clear vinyl from the legendary Rainbo Records in California Hi-res multi format digital audio and artwork download card "Raggabass" Resistance is the groundbreaking 4th album release from critically acclaimed ragga/dubstep pioneer, Dub Gabriel.

Three years in the making and spanning multiple continents, he has been on an epic bass-fueled journey that saw him enlist the support of an incredible crew of collaborators - U-Roy, Warrior Queen, The Spaceape (Kode9/Burial), Brother Culture (On-U/Mungo's Hi Fi), Jahdan Blakkamoore (Major Lazer/Snoop Lion), Dr.

Israel, MC Zulu, Juakali, PJ Higgins (Temple of Sound), David J (Bauhaus/Love & Rockets), Pedro Erazo (Gogol Bordelo), and Mark Pistel (Hercules & Love Affair) - they all come together in an electro-organic stew of future reggae sounds to create Dub Gabriel's most realized and ambitious album to date.

Originally from Chicago, and now living in San Francisco (by way of Brooklyn and Berlin), Dub Gabriel got his start at New York's legendary Limelight Club in the late 90's, which quickly gained him significant press coverage in major publications including Interview Magazine, The New York Times and Time Out New York, and launched him as one of America's premier producers and DJ's.

A tireless innovator, his musical explorations have taken him the furthest reaches of electronic, rock and world music, appearing on over 25 releases that include collaborations with Michael Stipe of REM, and The Master Musicians of Jajouka, and a string of massive remixes for artists such as Balkan Beat Box and Dubblestandart feat.

director David Lynch & reggae legend Lee Scratch Perry.

LP mit Downloadcode. THE DUNGEONESSE, das Pop-Projekt von Jenn Wasner (WYE OAK, FLOCK OF DIMES) und Jon Ehrens (WHITE LIFE), veröffentlicht sein selbstbetiteltes Debüt auf Secretly Canadian.

,Shucks", das seine Premiere auf Pitchfork feierte, ist die passende Einleitung zum Album, ein vom Funk beeinflusster Track voller Bass, auf dem Wasners Stimme wie auf einer Welle surft.

Auf der ersten Single ,Drive You Crazy" (ebenfalls als 12" erhältlich), stellt sich das heiser-gesäuselte Gurren Wasners vor die gigantische Produktion aus der Hand von Ehrens: Top 40 Musik aus der Hand des Könners.

Wasner und Ehrens wissen, dass wir feiern wollen und liefern die Songs von ,Dungeonesse" als perfekten Soundtrack: absolute Rocker (,Cadillac", ,Drive You Crazy"), langsame Nummern (,Nightlight", ,Wake Me Up"), Synthie-lastige House Tracks und sorgfältige erstellte Beats, die uns zum Tanzen bringen.

Vereint durch ihre Bewunderung der Top 40, R'n'B und der Wissenschaft des Hitsongs begannen Wasner und Ehrens damit, Jams und Ideen per Mail auszutauschen.

Die charmante Kraft von ,Dungeonesse" strömt aus dem Gegensatz aus dem wunderschönen Makel der menschlichen Stimme in einer Landschaft des mechanisierten Musikentstehungsprozesses.

Der Spaß jedoch liegt nur im Hören.

Fishermen is a new project created by Martin (MRSK) and his friend Thomas. Their first EP was released on the Skudge White series. When it is time for their second coming, Delirium Tremens, the duo delivers four tracks of dark, grinding soul techno, inspired by the sea. To be played at maximum volume.

George FitzGerald has returned to his Hotflush home for the first time since 2011. ‘Thinking of You’ needs no going-over and its b-side counterpart, however, is one of FitzGerald’s rawest cuts yet.

LTD to 200 copies.

Stefan Schwander has been releasing his heavily processed and sequenced take on African music and American minimalism under his Harmonious Thelonious moniker since 2008. His new EP on meakusma is only the second one on a non-German label. On two tracks, Schwander takes his trademark rhythmically and melodically repetitive sound into straightforward Techno territory, although some heavy phasing gives the raw power and stoic repetition of these tracks an ambientish, post-club feel. Two other tracks further develop his typically eclectic and informed sound, playing live organ on one of them, displaying a jittery and jumpy rhythmic style that looks for a groove that until now did not exist. Jesse Hackett, a.k.a. Elmore Judd, delivers a remix that takes the original firmly into 'My Life In The Bush Of Ghosts' territory, giving melody and rhythm a more open sense of space, and layering it with vocal samples to further add to a sense of Funk alienation. This is serious and exhilarating music!

The mysterious WPBH label strikes again with two killer tracks from the vaults of one certain Harry Baldi. All that is known about this Harry Baldi character is that he once squeezed 100 tracks into a 9 seconds mix on his Soundcloud and that he has never played at Panorama Bar or any other club for that matter.



So this one is truly a matter of the music doing the talking, and with the reggaefied dubness of ‘Can’t Kick This Feeling When It Dubs’ and the vintage Theo Parrish-styled ‘Tonight Tomorrow’ the music will well and truly talk to a lot of music lovers.

Strobe light house music with all the raw energy of early Chicago…

Saukrates & Black Thought join the mic!

Soundway Records present Kenya Special: Selected East African Recordings from the 1970s & ‘80s - a treasure-trove of rare and unusual recordings from East Africa. Spread out over two CDs and one triple LP, Kenya Special is accompanied by detailed liner notes, original artwork and photographs.

It follows on from Soundway’s much acclaimed African ‘Special’ series that to date has focused on the highlife and afrobeat output from 1970s Nigeria and Ghana. Kenya Special is a collection of 32 recordings (most of which were only ever released on small-run 45rpm 7" singles) that stand out as being different or unique as well as some classic genre standards. From Kikuyu language ‘liquid soul’, Luo benga and Swahili afrobeat to genre-bending Congolese and Tanzanian tracks recorded in Nairobi, Kenya Special sees Soundway yet again taking the less trodden path. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse the music scene in Kenya was at the time.

In 1970s Kenya the two threads of rumba and benga loosely dominated the music scene. Benga quickly became Kenya’s unique contribution to afro-pop; spreading like wildfire through the interior countryside with it’s fast, 4/4 machine-gun beat and intricate electric guitar layers. The Congolese take on Afro-Cuban rumba was introduced by touring bands many of whom settled in East Africa - influencing bands from Kenya and Tanzania to come up with their own take on this popular style. Alongside these styles were small ensembles and hotel-sponsored bands, playing a blend of music that often included rock ‘n’ roll riffs, elements of ‘afro’ music (influenced by West African musicians like Fela Kuti), and multiple other combinations from South African and Zambian guitar styles to disco, funk and Swahili coastal rhythms like chakacha.

Painstakingly compiled, assembled and researched over two years by a team of five people from five countries (Kenya included), Kenya Special is a collection that looks beyond the mainstream and brings new life and recognition to some little known gems and forgotten classics of Kenya’s past.

A stripped back, rhythmic, and sonically absorbing EP. These four tracks are hardware-only affairs developed from her live set, built from a kit focused on dancefloor-ready rhythms, enveloping bass, psychedelic detail and lush harmony.