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Actress marks an auspicious 20th year releasing music with a vinyl edition of his RA mix; a near hour-long collage or braque of some 100 unreleased cuts trawling his HD and traversing its depths of brisk 313 techno, silver haze synth noise and flashes of neo-classical beauty. Trailing ’Statik’ back in spring ’24, 'Дарен Дж. Каннінгем' is practically on par with the album for levels of engrossing and gritty noirish atmospheres, scattering a breadcrumb trail of puckered keys and teasing rave signals that go deep into the forest of his mind/sound at a strident pace that buckles into offbeats and practically stumbles, groggy and spangled to the close. As with all his work, an underlying, artful narrative thread ties it all together in an abstract storytelling style that has served him incredibly well thus far and continues to pique the imagination of listeners across the fields of hazed electronics and dance music who may not necessarily listen to one or the other style, yet can’t help but be snagged by his restless equilibrium of those vibes.

Actress marks an auspicious 20th year releasing music with a vinyl edition of his RA mix; a near hour-long collage or braque of some 100 unreleased cuts trawling his HD and traversing its depths of brisk 313 techno, silver haze synth noise and flashes of neo-classical beauty. Trailing ’Statik’ back in spring ’24, 'Дарен Дж. Каннінгем' is practically on par with the album for levels of engrossing and gritty noirish atmospheres, scattering a breadcrumb trail of puckered keys and teasing rave signals that go deep into the forest of his mind/sound at a strident pace that buckles into offbeats and practically stumbles, groggy and spangled to the close. As with all his work, an underlying, artful narrative thread ties it all together in an abstract storytelling style that has served him incredibly well thus far and continues to pique the imagination of listeners across the fields of hazed electronics and dance music who may not necessarily listen to one or the other style, yet can’t help but be snagged by his restless equilibrium of those vibes.

Actress marks an auspicious 20th year releasing music with a vinyl edition of his RA mix; a near hour-long collage or braque of some 100 unreleased cuts trawling his HD and traversing its depths of brisk 313 techno, silver haze synth noise and flashes of neo-classical beauty. Trailing ’Statik’ back in spring ’24, 'Дарен Дж. Каннінгем' is practically on par with the album for levels of engrossing and gritty noirish atmospheres, scattering a breadcrumb trail of puckered keys and teasing rave signals that go deep into the forest of his mind/sound at a strident pace that buckles into offbeats and practically stumbles, groggy and spangled to the close. As with all his work, an underlying, artful narrative thread ties it all together in an abstract storytelling style that has served him incredibly well thus far and continues to pique the imagination of listeners across the fields of hazed electronics and dance music who may not necessarily listen to one or the other style, yet can’t help but be snagged by his restless equilibrium of those vibes.

For the first time ever, Vampisoul, the sister label of Munster Records, is reissuing this Argentinean Balearic Jazz/Fusion masterpiece. The album was released on Vampisoul, a sister label of Munster Records. This is a fantastic album by one of the top Argentinean musicians who left his work for "Melopea Discos" under the direction of Litto Nebbia. This is an ethno-fusion/jungle ambience masterpiece with rich sonic nourishment and Brazilian flavors. Includes an insert with unpublished photos and notes. Highly recommended for fans of obscure South American music such as "Outro Tempo" (Music From Memory) and "América Invertida" (Vampisoul) as well as Azymuth, Mono Fontana and Motohiko Hamase!

For the first time ever, Vampisoul, the sister label of Munster Records, is reissuing this Argentinean Balearic Jazz/Fusion masterpiece. The album was released on Vampisoul, a sister label of Munster Records. This is a fantastic album by one of the top Argentinean musicians who left his work for "Melopea Discos" under the direction of Litto Nebbia. This is an ethno-fusion/jungle ambience masterpiece with rich sonic nourishment and Brazilian flavors. Includes an insert with unpublished photos and notes. Highly recommended for fans of obscure South American music such as "Outro Tempo" (Music From Memory) and "América Invertida" (Vampisoul) as well as Azymuth, Mono Fontana and Motohiko Hamase!

LTD stock from The Trilogy Tapes !! Adam Badí Donoval is the founder & curator of Warm Winters Ltd.

The official reissue of Adelhard Roidinger’s contemporary jazz/fusion masterpiece. An extremely talented and eclectic musician, Adelhard Roidinger’s creativity couldn’t be contained by the walls of music. His compositions for computers, graphic designs and geometric studies are a testament to his wide array of interests and artistic expressions. This fascination for computers is in full display in Computer & Jazz Project I. Adelhard believed that machines are vital tools for the development of humans. By using the machines, one can refine his own self, absorbing into their mind the possibilities that such tools unlock. It’s with this belief that Computer & Jazz Project I was created: fusing a coustic instruments, that Adelhard had mastered through his career, with new machines and computers. A timeless masterpiece that unleashes the artist’s creativity, enhanced by the machines of which he is now enamoured.

Linear Labs: São Paulo sparks a new golden era of musical genius defined by the maestro Adrian Younge, encapsulating what he’s learned in building the first era of Linear Labs and its successor label Jazz Is Dead. 
Linear Labs: São Paulo marks the evolution of this journey.

Step into an extraordinary psychedelic and soulful experience with Adrian Younge presents Linear Labs: Sao Paulo: a compilation of new songs showcasing the musical brilliance of Adrian Younge with artists from around the world. Essentially, the album features one unreleased song from an array of forthcoming albums Younge has produced for Linear Labs, including Something About April III, the tertiary installment of Younge's masterwork trilogy, and a new blaxploitation adventure from hip hop legend Snoop Dogg, entitled Don’t Cry For the Devil. 

Also included on this preview is Brazilian actress/ singer Samantha Schmütz, Middle-Eastern singer Liraz, London-based jazz vocalist ALA.NI, afro-futuristic soul singer Bilal and a bonus song with Stereolab’s Lætitia Sadier. 

“For the last 30 years, I’ve studied rare and obscure records in an attempt to become the most unique producer in the world. A world where I create music with no expiration date…a vortex where the composers of yesterday and today sonically meet to discuss the way that hip hop has informed modern ears…essentially, my music is for the heads. This is São Paulo!” ⁃ Adrian Younge 

It’s a new era for Adrian Younge’s recording outfit, Linear Labs. Since the start of 2020, Adrian Younge has been at the helm of production of 30 albums for his Jazz Is Dead label alongside his partner Ali Shaheed Muhammad. These albums include collaborations with iconic artists such as Roy Ayers, Ebo Taylor, Marcos Valle, Gary Bartz, Doug and Jean Carn, Dom Salvador, Carlos Dafé and countless others, helping reshape and refocus their careers. For the last 12 months, Younge has refocused his energies into his own music and the outcome has been what he describes as "the pinnacle of his career.” In these new offerings, he takes everything he has learned in his illustrious career and reaches new heights to be heard on Linear Labs: São Paulo.

The first single to be released is “Esperando por Você,” a dark and psychedelic glimpse into the world of Something About April III, the third installment to Younge’s fabled and most sampled works. Fans of Younge will immediately recognize his signature Something About April sound, but with a twist: the entire album is in Portuguese!

“Rules of the Game” offers the first glimpse into Snoop Dogg and Adrian Younge’s blaxploitation adventure, Don’t Cry for the Devil. The album features Snoop Dogg’s embodiment of the fictional ‘70s pimp, Silky Slim, rappin’ about life in the game. Younge’s production echoes the tone of Snoop’s debut album, Doggystyle, as if it was produced by Isaac Hayes, Curtis Mayfield and Johnny Pate circa ‘76.

“Fire in the Disco” is a standout track from Younge’s upbeat and dance heavy Afrobeat project, Afrodisco Makossa. The six-track album is the follow-up to Younge’s collaborations with Afrobeat pioneers Tony Allen and Ebo Taylor, released on the Jazz Is Dead label. Featuring an ensemble of Ghanian and Black American vocalists, this song embodies the rich heritage of African music with a vibrant mix of Afrobeat-inspired disco tracks.

Hear Younge’s foray into the world of middle eastern psych and funk on “Farrar Konam,” a song created with Middle-Eastern singer, Liraz. Renowned for her outspoken activism through music, Liraz champions women's freedom worldwide. Sung in her family’s native Farsi language, her powerful message resonates universally. Her forthcoming album with Younge is entitled, Azadi, which means “Freedom.”

“Nossa Cor” is a classic love samba composed by Younge and Brazilian actress/singer Samantha Schumütz. This song is a preview into their majestic album, Samantha e Adrian. The partnership between Schmutz and Younge is heavily inspired by the revolutionary Brazilian music created during the MPB and tropicalia era of the ‘60s and ‘70s. While many know Schmütz for as an actress and comedian, few are aware of her singing prowess.
The song “Human Absence” comes from YOUNGE, the eponymously named instrumental album, a first of its kind. Created with a live 30-piece orchestra, the fuzz guitars, cinematic arrangements and funky percussion showcase Younge’s mastery as a conductor from a bygone era.

On Proud, Adrian Younge showcases the Parisian jazz singer ALA.NI. With her unique blend of vocal harmonies and unparalleled emotion, ALA.NI establishes herself as one of the most distinctive and enchanting Black voices emanating from Paris.

In 2015, Bilal and Adrian Younge released In Another Life, an album crafted by Younge to highlight the soul singer’s impressive vocal range and distinctive style, featuring guest appearances by Kendrick Lamar, Big K.R.I.T. and more. In Another Life: Redux is a re-release of the acclaimed album, remastered with three unreleased songs as it was always intended by Younge to be released. 
Note to editors:

Adrian Younge is an Emmy Award winning composer, multi-instrumentalist, and producer from Los Angeles, CA. Renowned for his analog sound, Younge has been sampled by artists like Jay-Z, Kendrick Lamar, Common, DJ Premier and counteless others. He’s also produced for icons including Roy Ayers, Cee Lo, Rakim, Tony Allen, Ebo Taylor, Marcos Valle, Céu, Dom Salvador, Azymuth, Wu Tang Clan and many more. He’s also known for his work as a film and television composer (Marvel’s Luke Cage, Black Dynamite, etc.) Younge is the owner and brainchild of the record label Linear Labs; he also is the co-owner of the record label and events company Jazz Is Dead. <iframe style="border: 0; width: 350px; height: 439px;" src="https://bandcamp.com/EmbeddedPlayer/album=2991648685/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://adrianyounge.bandcamp.com/album/adrian-younge-presents-linear-labs-s-o-paulo">Adrian Younge presents Linear Labs: São Paulo by Adrian Younge</a></iframe>

"This-is-a-remix-record-but-not-in-the-traditional -sense angle. Remix tends to imply that a song has been remixed for the dancefloor, radio, etc. These are 'remakes' in which entirely new songs have been written using primarily 'Wedding Song No. 3' (see DC 144) for source material. Features the work of Directions in Music pioneer Bundy K. Brown, as well as man from U.N.K.L.E. Tim Goldsworthy, Tied & Tickled Trio and Tetsua's DJ Your Food."

Unearthed from the neolithic tar that eventually swathes all history, Aerial M’s early-98 Peel Session is once again among us. Compared to the studio takes, played strictly and singly by Aerial/Papa M-astermind David Pajo, these versions swing from the necks of road-burned players, breathing more bestially than their canonical cousins, glinting ‘pon the dark metallic roots that fed all of Pajo’s best guitar lines, winding thru time immemorial.

Af Ursin, a project of Timo Van Luijk, who also works with Andrew Chalk in the units Elodie and Mirror, and organizer of La Scie Dorée, released this work in 2017. The work is a masterpiece in which his worldview is deployed without regret, with improvisations that gradually build up heat with an unobtrusive yet drone-like energy, and sound works that have the feel of In Camera/Mirror. The natural analog soundtrack further enhances the perfection of the piece.

Three introspective instrumental compositions for English horn, flute, percussion, double bass, Hammond organ. Performed, recorded and mixed by Timo van Luijk at Kulta Saha, 2010-2012. Remastered May 2020.

Continuing their exploration of São Tomé and Príncipe with DJ Tom B., Les Disques Bongo Joe proudly announces the release of África Negra Anthology Vol. 2. We've carefully selected and remastered 13 standout tracks for this volume, digitized from studio tapes by their tour manager. The album includes a booklet with updated liner notes and vintage photos of the group. África Negra, established in the early 1970s by Horacio and Emidio Pontes, is São Tomé and Príncipe's most renowned musical group. Their blend of Puxa and Rumba, infused with Leonildo Barros' guitar riffs, Armando Tito's bass lines, and vibrant percussion, gained them recognition beyond the archipelago. This volume offers a glimpse into their musical journey, featuring unreleased sessions from 1979 and 1990, showcasing lead vocalists like João Seria and Sergio Fonseca. Reformed around Leonildo Barros and Antonio Menezes since 2008, the group has released three albums since 2012 and resumed touring in recent years, with João since 2014. Their performances continue to captivate audiences with energetic rhythms, graceful harmonies, socially charged poetry, and distinctive dance moves, supported by their Lisbon-based tour manager, Afonso Simoes (Filho Unico), who facilitated the excavation of these tracks. Since the tragic passing of Joao Seria on May 4, 2023, followed by national funeral honors, 90s lead vocalist Sergio Fonseca has rejoined the group, accompanied by Iju, a renowned younger São Toméan vocalist, delivering an engaging show. Pacheco, known for his devastating bass riffs and unique style of playing, has also returned, having lived in Cape Verde since 1987 and recently resettled in São Tomé. This anthology is dedicated to the memory of General João Seria, Gabriel João, Sep 1, 1949 - May 4, 2023.

1993 album, their last On-U produced LP for 12 years. African Head Charge blend dub, trance, electronica and world music throughout with Bonjo I at the helm and typically skilful production from Adrian Sherwood.

Bonjo Iyabinghi Noah is on vocal duties and assisted with ground-shaking grooves from On-U mainstays Doug Wimbish, Skip McDonald, and Jazzwad (amongst others). The resulting sound sculptures on this 2005 album are whipped into a dubwise frenzy by label head Adrian Sherwood. A great entry in the rich AHC back catalogue, and a fitting way to mark their return to the label.

Originally released in 2011 to celebrate the 30th year of On-U Sound. The album is essentially the continuation of a process that has seen both band and label expanding and transforming the landscape of contemporary reggae into new and exciting shapes. All the elements of a classic African Head Charge album are present; a triumphant mix of dub, psychedelia, trance, afro and tribal rhythms that have given them their own unique place in contemporary music.

African Head Charge return to On-U Sound with their first new album in twelve years. Titled A Trip To Bolgatanga, the recordings are led by founder member Bonjo Iyabinghi Noah, with close friend and co-conspirator Adrian Sherwood once again at the controls. A Trip to Bolgatanga is a stunning return, bringing together the talents of two masters who, after a hiatus, have created a rich album brimming with ideas and executed with finesse.

A Trip To Bolgatanga is a musical journey to Bonjo’s current hometown in north Ghana. A psychedelic travelogue across the landscape featuring their trademark hand percussion and group chanting augmented with rumbling bass, mutated horns, dubbed out effects, wild wah-wah, haunted voodoo dancehall, synthetic swells, disco congas, tumbling layers of electronic effects, blues-inflected woodwind, and funky organ. As with every On-U Sound production, each repeated listen reveals fresh detail, and its power won’t be really understood until heard on a big system, when it’ll reduce all competition to rubble.

The groundbreaking debut album from 1981 that plays on both the title and concept of David Byrne and Brian Eno's My Life in the Bush of Ghosts. Built upon sparse backing tracks constructed by Adrian Sherwood, the producer invited Bonjo Iyabinghi Noah (who had studied under Count Ossie in the rasta drumming camp at Wareika Hill in Jamaica) to lay down hand percussion patterns and breaks on top, augmented by stereo-strafed effects and the occasional burst of Sun Ra-style horns. The result is a unique mixture of traditional African rhythms, dub and free jazz. Features DJ favourite “Stebeni’s Theme” and “Far Away Chant”, used to famously gruesome effect by David Lynch in the film Wild At Heart.。

Unreleased tracks and version excursions 1981 – 1986.

Inspired by Eno’s “vision of a psychedelic Africa”, English dub producer Adrian Sherwood and master Jamaican percussionist Bonjo Iyabinghi Noah collaborated on a series of studio experiments under the African Head Charge moniker, resulting in groundbreaking albums such as Environmental Studies and Off The Beaten Track. The otherworldly sounds they conjure up have touchstones in Count Ossie’s mystic revelations, Can’s ethnological forgery series and the post-punk underground, but ultimately inhabit a genre of their own creation.

These radically different versions of early AHC classics and been lovingly restored and sequenced from the original master tapes by On-U archivist Patrick Dokter. This compilation first released in 2016.

Considered by most fans to be AHC's masterpiece. One of the prominent elements throughout African Head Charge’s discography has been the ethnomusicology influence. On Songs Of Praise this is even more pronounced, featuring religious chants set to an African dub backdrop of hand percussion, with a mighty sonic and great musicianship. A significant record both for African Head Charge and On-U Sound, originally released in 1990.

Bamanya is responsible for building Africa's first DIY modular synthesizer, a huge wall of home-made modules and FX units that he dubbed, fittingly, The Afrorack. His reason for embarking on this difficult project was simple: as he began to investigate the world of modular synthesizers, he realized it would be difficult to acquire the technology in Uganda. Not only were there relatively few retailers across the whole of Africa, but the modules were often prohibitively expensive. After quick search online, Bamanya realized he could easily download circuit diagrams and buy the required parts locally, so he taught himself electronics and constructed a CV-controlled system that's been evolving ever since. "The Afrorack" is Bamanya's debut album and displays the producer's untethered creativity and restless energy. He's all too aware that these modules were developed with European and American musical styles in mind, so developed his own musical methodology and language to coax the system into suiting his needs. His starting points are often abstractions of acid and techno, but Bamanya curves East African rhythms and different scales into these familiar structures, splintering them into fractal shards. "I believe Africa is at that point where people are getting new tools which were not available to them, and then experimenting with them in a different context, because Africa has its own traditional music," he told Pan African Music back in 2019. This attitude is most evident on 'African Drum Machine', where Bamanya uses a Euclidean rhythm sequencer to divide his CV signals into complex algorithmic patterns that mimic the polyrhythmic structures that exist in many East African musical forms. If you're not listening closely it might sound like 4/4 techno, but focus your attention and you'll hear different layers of drums and jagged oscillators bouncing between each other creating hypnotic new rhythms. Bamanya takes a similar approach on 'Why Serious', fuzzing dubby basslines and plasticky percussive sounds into a frenetic hybrid of abstract electronics and fwd-thinking East African club sounds. At times, Bamanya's meditative, bass-heavy compositions echo the psychedelic sounds of Shackleton or Adrian Sherwood's African Head Charge, particularly on tracks like 'Inspired' and 'Last Modular'. With lysergic tonal shifts and precision-engineered drums, both tracks sound defiantly metallic, but sculpted by a producer who's always completely in control as he introduces risky eccentricities like feline groans and videogame blips. And on less beat-heavy tracks like 'Osc' and 'Rev', Bamanya makes a conscious nod to the history of modular music, approaching the kosmische universe of Popol Vuh, Klaus Schulze and Emeralds, augmenting it with East Africa's idiosyncratic rhythmic intensity. "The Afrorack" is the beginning of a conversation that's been long overdue.

After Dinner from Japan, embraced new wave, traditional Japanese music, free contemporary and avant-garde rock. Founded under hand of delicious female vocalist, musician and composer Haco in 1981, broaching a very interesting collective cohesion; their background, though however various, brought them together during times of recording and live performance. 1982-85 includes all their first production; the complete 1st album “Glass Tube", 2 tracks from the 1st 7” single and a bonus track track from a 1985’s compilation on Celluloid. Includes 24-pages booklet

"The Japanese avant-garde pop band strove to create a “sacred ambiance” on their second album, fusing unconventional arrangements with bouncing volleyballs and an eyes-wide air of wonder." “It’s rare that art-pop matches its extravagance with such alluring modesty. In doing so, Paradise of Replica feels like encountering cinematic spectacles in miniature.” —Joshua Minsoo Kim (Pitchfork, September 30, 2022)

A milestone in the history of electro-pop and post-punk music in Brazil! Finally gathered in a 12" the two 7" of the seminal band Agentss, ground zero of Brazilian post-punk. Originally released in '82 and '83, until now these recordings were only available in their original format. Their members were key figures of the São Paulo underground, after the band split-up they went to create important bands such as Voluntários da Pátria, Azul 29, Violeta de Outono, and Mumia. The track "Agentes" was included in the Não Wave (Brazilian Post Punk 1982-1988) compilation released by Man Recordings in 2005. The release comes with an insert featuring unpublished photos and texts telling the story of the band. A milestone in the history of electro-pop and post-punk music in Brazil. Agentss was a seminal band that recorded only two singles, did few shows and imploded. It's no exaggeration to compare their debut show with the famous Sex Pistols concert in Manchester, when approximately 50 people that left the place with the idea of starting their own band. The band's sound was a transitional one. Part of what is perceived as post-punk is actually pre-punk (including bands as Suicide, Chrome, Cabaret Voltaire, and This Heat) and we could draw comparisons of Agentss with the initial Ultravox (John Foxx era), the albums by guitarist Snakefinger produced by The Residents and the experimental early Devo.

During the mid-1960s, deep in the Sussex countryside of southern England, aspiring musicians Peter Howell and John Ferdinando played in a few school bands before recording together in Howell’s father’s garage. Through Ferdinando’s connections with a theatre group, the duo created a musical companion for their production of Alice Through The Looking Glass, which the duo pressed privately; then, Fly Away, credited to Agincourt, was produced in a spare bedroom, an advertisement bringing Lee Menelaus, whose lilting voice provided a stirring female counterpart to theirs. Much of this psychedelic folk oddity has a quaint innocence fitting of the era and along with English folk-rock there are shades of pop, a touch of West Coast and even jazz in places. Pressed in minute quantity on another private press, original copies have been known to sell for £1500 or more; the duo continued recording, notably on work credited to Ithaca, before Howell became a full-time member of the BBC Radiophonic Workshop, where he notably worked on the Doctor Who theme.