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Carrying Colour presents 'Sen Am', the third album by Duval Timothy. The album is the product of Duval spending the last two years living between London, UK and Freetown, Sierra Leone. 'Sen Am' is a Krio phrase that means 'send it' or 'send him/her Throughout the record friends and family from Sierra Leone appear through Whatsapp voice notes that speak over solo piano and layered instrumental compositions. Also featuring: 6pac, Aminata, Aruna, Emmerson & Sydney. The LP was recorded in London (UK), Bath (UK), Freetown (SL), Tokyo (JP), Kyoto (JP). Recorded and engineered by Duval Timothy Copyright Duval Timothy

You Always Will Be is the new album by artist Dylan Henner. The follow up to 2020's well received 'The Invention of the Human', the new record touches on themes of nostalgia & longing for times passed; innocence yielding hardships and vice versa; ageing; the soul; life changes; parents and children; loss; love. Dylan says: "The piece tells the story of a single life, from birth to death. I've been thinking about the passage of life a lot recently as I lost all four of my grandparents but celebrated the birth of my daughter all within a short period of time. The brevity and preciousness of being really hit me." The vinyl release consists of a ~ 40 min piece split across two sides, while the digital release features extended versions of the music in that piece, making up 10 individual tracks. Anyone that purchases the full album from our bandcamp will be credited with the ~ 40 min piece automatically. Mastered by Rashad Becker Artwork designed by Dimitri Erhard

Originally released in 1974, Dzyan’s third and final album is a Krautrock masterpiece, blending daring world beat, jazz-prog, and mysticism. Multi-instrumentalists experiment with exotic sounds and inventive instruments, creating a psychedelic, otherworldly work—an enduring highlight of German rock. Originally released in 1974 on famous German label Bacillus, Dzyan's third and final album,it is recognized for its daring world beat elements, and totally acidic album cover art. Dzyan refined their sound even further into improvisation and exotic sounds, mixed with weird experimentations and mysticism. It offers other-worldly music of incredible beauty and strangeness, influenced by the music of Asia but taking it into far more original realms. Multi-instrumentalists Marron and Karwatky experimented with sitar, saz, tambura, mellotron, synthesizers, bass-violin, and a mysterious invented instrument called 'super-string', all merged in an extreme melting pot of styles, ideas and fertile imagination, interacting into a 'psychedelic worldgroove'; while Giger, bursting with creative power and virtuosity, holds it together with his fantastic drumming. From the weird opium-den trancesoundtrack of 'Khali' to the more funky 'For Earthly Thinking', to the even wilder tracks like 'The Road Not Taken', Dzyan crafted one of the finest and most unique works of the Krautrock era. An amazing work on its own, rhythmically adventurous and unique jazzprog, is indeed one of the landmarks in experimental rock, a masterpiece. A highlight in German rock history.

Originally released in 1973, Dzyan’s second album "Time Machine" marked a shift from vocal prog-rock to a unique blend of jazz, ethnic, and acid-rock influences. Showcasing virtuosic musicianship, it stands as a pioneering work in German rock, ahead of its time. Originally released in 1973 on famous German label Bacillus, Dzyan’s 2nd album “Time Machine” showed a “new” Dzyan line-up consisting of guitar player Eddy Marron (also playing a lot of other string instruments), bass genius, band founder and “mastermind” Reinhard Karwatky and drummer Peter Giger. Produced by Peter Hauke and recorded and mixed by great engineer Dieter Dierks the trio performed on Time Machine a new sound mutating away from vocal-prog-rock of the first album to explore further jazz and ethnic tonalities with far more space-out and exotic improvisations to an unusual hybrid of acid-rock with serious jazz chops approaching “Mahavishnuland”. Time Machine offers virtuous and unorthodox musicianship with a high and very own esthetic quality. Existing in a no-man’s land between jazz and rock, and as a pre-cursor to the post-rock crowd of the ‘90s, Time Machine was well ahead of its time. A highlight in German rock history.

Original shoe gazer-turned-ambient electronic explorer E Ruscha V meets Arthur Russell collaborator Peter Zummo on a lush suite of cosmic harmonic projections for back of eyelids and astral armchair flight a la Jon Hassell... “'Thinking A View is a collaboration between E Ruscha V (Secret Circuit) and Peter Zummo, a fourth world meeting of electronics and wind instruments. A joining of East and West. This 14-track soundscape oscillates between ambient, psychedelic, electronic, spiritual and jazz, taking the listener to imagined realms. The sequence flows effortlessly for listening sessions, though each track is cut for DJ use.' Eddie Ruscha on synthesizers, keyboards, drum machines, vibes, tapes, clarinet, various percussion instruments and Mario C. instruments. Peter Zummo on trombone, cornet, euphonium, tuba, conch shell, plastic funnel horn, didgeridoo and voice.”

The euphonic tics of E-Saggila's music are typically found in symbiosis with the exacting intensity of her rhythmic arrangements, as meticulously deranged as they are. 'Gamma Tag' refreshes expectations by making more space for melodic conditioning and inculcation, whipping ultraviolet harmonics into uncanny plains for a wide range of tempos and cadences. While breaks remain staccato hammers, and kicks are cast to negate cardiac systems, E-Saggila's modulation of rhythmic dynamics is more pronounced, affording a resonance and balance that had previously been mentioned but not yet entirely explored. On more measured pieces, such as 'Amnesiac' and 'Tick', the searing digital signal envelops the horizon line, twisting the mechanics of the tracks until they burst with electromagnetic nectar.

FJLP-05 continues with Forest Jams recent trend of Japanese re-issues from the 90’s. This one is E.S. Island’s “Southwind from Hachijo” a deep ambient exploration that is more tribal and spiritual than prior E.S. Island releases. This was recorded on Hachijo Island featuring several traditional instruments with the bulk of the music being played by Eisuke Takahashi (R.I.P.) and Nene Sanae. Limited copies.

AI-36 comes from Ear to Ear - the debut collaboration between label regular Samuel van Dijk (Multicast Dynamics) and Ukrainian artist Yevgen Chebotarenko. Taken from a series of live recording sessions, the album explores in four parts a markedly darker realm of soundscape music. A cornucopia of abstract morphing scenes and heady synesthesia, the album brims with rich sonic detail and evocative gestures. Deftly blending organic sound textures with an experimental austerity, ‘Live Recordings’ displays potent and accomplished storytelling. The album opens to a grey overcast vista, a natural landscape that slowly melts into a descending chasmic dysphoria. The mood transitions to a drone-based piece on the B-side, characterised by a more psychologically suspenseful framework and exotic blend of sound design. The atmosphere lightens, yet equally pensive as side C takes on a more elemental form, invoking water and its array of microbial and metabolic ecosystems. Brief cathartic moments in the final section pave the way for deeper wayfaring on the D-side. Stray signals and unknowable artefacts skitter across a vast subaqueous domain, a fathomless womb of potentialities that ebbs into eternity.

Earlando Arrington Neil became Early B on the Jamaican sound system scene, working his way through Soul Imperial, King Majesty and other sets before coming to prominence in the early 1980s on Kilimajaro, where he became known as ‘The Doctor’ for unleashing his lyrical cures on the mic. Recording for various producers from 1981, Early B reached another level upon linking with deejay-turned-producer Jah Thomas in 1984, the humorous hit ‘Sunday Dish’ leading to this explosive LP of the same name, an enduring classic of early dancehall that also features the equally hilarious ‘Learn Fi Drive.’ All killer, no filler!

First official reissue, remastered from master tapes. VINYL ONLY, NO DIGITAL. Recorded in 1981, Dance by Earthling is a cornerstone seminal album of Nippon new wave and synth-pop. The group called their first album DANCE to express the fullest flowers of rhythmic movement, attending to both physical and spiritual needs. Earthling consisted of the couple: lead vocalist/guitarist John, bass guitarist Yoko Fujiwara, plus keyboard/sythesizer player Jin Haijama. The group was formed in Tokyo in 1979 when John and Yoko, who had been fashion and textile designers, felt the desire to give the music they'd written a more permanent environment. The sound of Earthling reinforces the subtle and sensitive connections which link modern music to dance to, with hints of synth-pop, top notch new wave and heavy punkish vocals. Fun fact: "You go on Natural" became a well-known banger in the late 80s in La Ruta Destroy in Valencia, championed by local djs back then. Please note that the artwork was produced at a local Madrid-based printing house to maintain the same aesthetics as the original copies, maintaining the die-cut with the iconic six holes, displaying the blue color from the inner sleeve.

Blood Blood Song continues East of the Valley Blues’ streak of sublime, future-forward acoustic fantasias. For years, the Toronto-based duo, comprised of brothers Kevin and Patrick Cahill, has excelled at an earthy and pensive brand of instrumental music inspired by notions of folk music as a global, rather than regional, idiom. While the duo’s elegant and unassuming virtuosity easily distinguishes East of the Valley Blues from its contemporaries of would-be Bashos and fledgling Faheys, it is the group’s telepathic improv that provides the certain x-factor that ultimately sets it apart from its peers. Throughout Blood Blood Song, Kevin Cahill’s percussive, prepared nylon string guitar---occasionally evoking the sound of a begena—remains in constant conversation with his brother Patrick’s nimble steel string abstractions. Though the stereo separation places the brothers on opposite corners of the stereo field—Kevin mostly on the right and Patrick mostly on the left—the two guitars often create the illusion of appearing to meet in the middle, where they blend into a single, dynamic sound. Blood Blood Song is an album of uncommon intimacy and grace. Of music that doesn’t so much develop as unspool. Music that blooms. - James Toth / Wooden Wand

Blood Blood Song continues East of the Valley Blues’ streak of sublime, future-forward acoustic fantasias. For years, the Toronto-based duo, comprised of brothers Kevin and Patrick Cahill, has excelled at an earthy and pensive brand of instrumental music inspired by notions of folk music as a global, rather than regional, idiom. While the duo’s elegant and unassuming virtuosity easily distinguishes East of the Valley Blues from its contemporaries of would-be Bashos and fledgling Faheys, it is the group’s telepathic improv that provides the certain x-factor that ultimately sets it apart from its peers. Throughout Blood Blood Song, Kevin Cahill’s percussive, prepared nylon string guitar---occasionally evoking the sound of a begena—remains in constant conversation with his brother Patrick’s nimble steel string abstractions. Though the stereo separation places the brothers on opposite corners of the stereo field—Kevin mostly on the right and Patrick mostly on the left—the two guitars often create the illusion of appearing to meet in the middle, where they blend into a single, dynamic sound. Blood Blood Song is an album of uncommon intimacy and grace. Of music that doesn’t so much develop as unspool. Music that blooms. - James Toth / Wooden Wand

Susumu Yokota’s glyding mid ‘90s acid works for Dr. Motte and co’s Space Teddy revived for a 30 year anniversary reissue with Transmigration, dovetailing their interests in early Goan dance and ‘90s trance with this double album set of lush, SAW-like bubblers.

Replete with liner notes by top flight ‘90s trance producer Mijk Van Dijk, the ‘Space Teddy Collection’ scans a seam of Susumu Yokota’s work circa his albums for Harthouse and the legendary ‘Acid Mt. Fuji’ for Sublime. This posthumous retrospective hails his purest acid works, inflected with the rhythmelodic lilt and aerodynamic elegance that distinguished Yokota’s work from his contemporary milieu. Sifted from two albums, ‘Zen’ (1994) and ‘ten’ (1996), the nine cuts are all characterised by a pursuit of hypnotic club sensuality, and scale between FM feathered ambient acid house and more urgent acid trance. 

Beginning slow and spacious with the resonant 303 tweaks and wide open pads of ‘Sou’, the set toggles the intensity of Susumu’s Ebi output between the lip-smacking upness of ‘San’ to the sand-trample triplet wiggle of ‘Tsuru’ and proper yoghurt-weaver tackle in ‘Hi’. At the set’s core he takes the longview with the near 9 minute slow mo drug chug of ‘Zen’ and the Plastikman-esque ambient acid crawler ‘Chuu’, saving the beatific bliss of ‘Kaze’ and ‘Tsuki’ to play out on the back of fluttering eyelids.

Harnessing the chaos born from endless jams in a remote, rented farmhouse, the album dives deeper into their punk approach to jazz, while opening up space for long-nurtured fascinations with electronic textures and cinematic oddities. Their third album, it features previous singles feely, and bamboo.

The title was pulled from a bank of favourite names after the band saw Ez’s artwork; a quirky world of three cell-like flats housing absurd creatures. 'frank dean and andrew' nods to the anonymous, everyday passersby whose lives quietly unfold in the background of a nondescript town.

Pulling back the curtain on its creation further, the band reveals, “The album was recorded at the end of a year of extreme highs and lows. The tensions play out in the music in weird ways... the feeling of the music is very particular, and peculiar. Most UK Jazz music can end up too arranged and neat, or generally optimistic in mood, whereas this album goes the other way in all aspects.”

At the album's core, the glitchy, late-night focus track red in tokyo features Chinese-Vietnamese-British rapper Jianbo, whose grimey, distorted flows cut through growling guitar riffs and a dragging, drill-like drum line. “It’s a weird, grimey anger with a touch of no-wave and post-punk,” the band explains, “Hari’s bass ended up sounding like a Japanese Koto”. The intensity is fitting, as Jianbo recounts a tense moment in Tokyo that left him “seeing red.”

Shifting through moods, the second track oscillates to life with a dubby bassline and bursts of distant, animalistic commotion, like a flock scattering after a disturbance. With unsettling keys and guitar, the instrumental upends the familiar contours of jazz and leaves a lingering unease as part of what the band calls the album’s “weird, off-key” side. Equally unexpected, the title, horticulturalists nightmare (birds), taps into the surreal fear lurking in the pulsing soundscape.

That freeform, borderless creativity carries into grilly, where the keys lay out the pace and mood. “The tempo and the ambience frame the track to be like a dance tune, but with a darkness from Burial-type ambiences and pulsing drill-style delays,” the band notes. As horn layers clear the haze, the jam’s raw energy and feeling come together as a transportive piece.

Taking a dip into the melancholic, toucan opens with a whir and solemn, ceremonial horns, underpinned by a mellow harmony that moves into far-off, choral-like overlays. Opening with a similarly dystopian eeriness is location, the band’s favourite. From the heavy slump of the drums to the three-piece horns of Dan, Akers, and Jonny, which counterpoint each other in a sea of reverb. The tune is named after a Playboi Carti song of the same name, inspired by the opening synth movement.

The title track, frank dean and andrew, flickers with a bittersweet nostalgia, capturing for Ebi Soda, a modern sense of indifference, a stay-at-home, it-is-what-it-is kind of resignation. It mirrors the mood of the figures on the album artwork: sitting alone in flats, suspended in quiet isolation. Lou’s chords, Hari’s chordal bass, and Sam’s laid-back tempo lay down a "loose, Midwest, emo undercurrent, a tone that runs deep in much of the hyperpop" the band had been absorbing. Will vocalises through the trombone, making it sound as though someone is singing down a crackling phone line. A flugelhorn overdub adds more warmth to the track’s slow-burning atmosphere, with trombone and sax joining the mix in the second half.

Closing the album is insectoid creatures are infesting the land, beginning as a dissonant, scattered hellscape of wailing improvisations, freewheeling robotic noise, and buckling delays that eventually rupture into a cinematic scape, giving way to an ascending sequence of hopeful, mood-settling melodies.

As a whole, the album’s character arises from stylising with production and mixing. The approach fluctuates between focusing on ambience and reverb, drawing from UK dubstep influences like Zomby, Burial, and Joe Armon-Jones’ collaborations with Maxwell Owin, and embracing the raw, grainy DIY ‘mixtape’ sound, inspired by artists like Athletic Progression, Yameii Online, and Playboi Carti.

Harnessing the chaos born from endless jams in a remote, rented farmhouse, the album dives deeper into their punk approach to jazz, while opening up space for long-nurtured fascinations with electronic textures and cinematic oddities. Their third album, it features previous singles feely, and bamboo.

The title was pulled from a bank of favourite names after the band saw Ez’s artwork; a quirky world of three cell-like flats housing absurd creatures. 'frank dean and andrew' nods to the anonymous, everyday passersby whose lives quietly unfold in the background of a nondescript town.

Pulling back the curtain on its creation further, the band reveals, “The album was recorded at the end of a year of extreme highs and lows. The tensions play out in the music in weird ways... the feeling of the music is very particular, and peculiar. Most UK Jazz music can end up too arranged and neat, or generally optimistic in mood, whereas this album goes the other way in all aspects.”

At the album's core, the glitchy, late-night focus track red in tokyo features Chinese-Vietnamese-British rapper Jianbo, whose grimey, distorted flows cut through growling guitar riffs and a dragging, drill-like drum line. “It’s a weird, grimey anger with a touch of no-wave and post-punk,” the band explains, “Hari’s bass ended up sounding like a Japanese Koto”. The intensity is fitting, as Jianbo recounts a tense moment in Tokyo that left him “seeing red.”

Shifting through moods, the second track oscillates to life with a dubby bassline and bursts of distant, animalistic commotion, like a flock scattering after a disturbance. With unsettling keys and guitar, the instrumental upends the familiar contours of jazz and leaves a lingering unease as part of what the band calls the album’s “weird, off-key” side. Equally unexpected, the title, horticulturalists nightmare (birds), taps into the surreal fear lurking in the pulsing soundscape.

That freeform, borderless creativity carries into grilly, where the keys lay out the pace and mood. “The tempo and the ambience frame the track to be like a dance tune, but with a darkness from Burial-type ambiences and pulsing drill-style delays,” the band notes. As horn layers clear the haze, the jam’s raw energy and feeling come together as a transportive piece.

Taking a dip into the melancholic, toucan opens with a whir and solemn, ceremonial horns, underpinned by a mellow harmony that moves into far-off, choral-like overlays. Opening with a similarly dystopian eeriness is location, the band’s favourite. From the heavy slump of the drums to the three-piece horns of Dan, Akers, and Jonny, which counterpoint each other in a sea of reverb. The tune is named after a Playboi Carti song of the same name, inspired by the opening synth movement.

The title track, frank dean and andrew, flickers with a bittersweet nostalgia, capturing for Ebi Soda, a modern sense of indifference, a stay-at-home, it-is-what-it-is kind of resignation. It mirrors the mood of the figures on the album artwork: sitting alone in flats, suspended in quiet isolation. Lou’s chords, Hari’s chordal bass, and Sam’s laid-back tempo lay down a "loose, Midwest, emo undercurrent, a tone that runs deep in much of the hyperpop" the band had been absorbing. Will vocalises through the trombone, making it sound as though someone is singing down a crackling phone line. A flugelhorn overdub adds more warmth to the track’s slow-burning atmosphere, with trombone and sax joining the mix in the second half.

Closing the album is insectoid creatures are infesting the land, beginning as a dissonant, scattered hellscape of wailing improvisations, freewheeling robotic noise, and buckling delays that eventually rupture into a cinematic scape, giving way to an ascending sequence of hopeful, mood-settling melodies.

As a whole, the album’s character arises from stylising with production and mixing. The approach fluctuates between focusing on ambience and reverb, drawing from UK dubstep influences like Zomby, Burial, and Joe Armon-Jones’ collaborations with Maxwell Owin, and embracing the raw, grainy DIY ‘mixtape’ sound, inspired by artists like Athletic Progression, Yameii Online, and Playboi Carti.

Born from ten-hour jam sessions in peeling Brighton bedsits, the technical parameters of a bootstrap recording process and the osmotic, multi-genre influence of internet music archives, quintet Ebi Soda have been steady-cultivating a unique sound amidst the exploding UK jazz scene.

Balancing irreverent musical and technical improvisation with an uncompromising instinct for vibe and prodigious musicianship, the Ebi ascent has been swift. Their eponymous debut EP, follow-up aptly titled “Bedroom Tapes” and debut LP ‘Ugh’ were originally released on Sola Terra, and won international plaudits, major radio plays and performances at Gilles Peterson’s We Out Here, London’s Jazz Re:Freshed, EFG London Jazz Festival and Latitude.

Despite their steep rise – the Brighton outfit have preserved as much as possible of their unique recording process, originating from their very first sessions. With just a two-track recorder around, the band would lay down whole takes, one instrument at a time, then immediately transform the overdub, digitally reshaping the sound with the same mischievous, adderall energy as the musical performance. This call-and-response between performance and production spurs an instinctive development – with musicality, player and producer egging one another on through naturally developing phases and textures.

‘Honk If You’re Sad’, their sophomore full-length album, stays true to these foundations, while bringing more ambitious experimentation, technical mastery and a stellar lineup of guest players to the studio including Yazz Ahmed, Deji Ijishakin and Dan Gray.

In typical Ebi style, while recalling jazz pioneers in playing style, ‘Honk If You’re Sad’ draws from a vast neural network of influences: the Ebi Brain has been marinating in a digital soup of trap, drill, dub, post-punk and no wave to name but a few. The result is a mercurial record that beams in psychedelia, dissonance, serene ambient passages, tough, neck-snapping beats and lush textures, all underscored by the intersection of jazz, hip hop and electronic music.

Across opening heaters, “Tang of the Zest” and “My Man from College”, Will Heaton’s trombone growls in and out of focus over a tight uptempo breakbeat. Deji Ijishakin’s tenor sax solo shrieks and shudders between lush layers of sound. Driving basslines, liquid keys, murmuring dissonant brass, delay and hazy reverb tumble into progressive cycles of frenetic climax and oceanic calm.

These patterns recur over the record. “Giraffe Bread” and “Listen, King” opens with a tight funk on the bass; short crisp phrases from drummer Sam Schlich-Davies dissipate in cascading dub echoes and the track opens into an instrumental, psychedelic jam, with rippling synth pads and trombone murmurs peeking out from a deep, reverberating soundscape. Ijishakin’s hyperactive sax solo on “Gated Community with a Public Pool” sits on a glitched-out rhythm section: a rocking, window-shaking bassline and sparse stuttering drums.

From influences as diverse as Kokoroko, Can, Lounge Lizards, BadBadNotGood, Ronin Arkestra, and The Fall, ‘Honk if You’re Sad’ focuses a cohesive whole; an explorative, playful and technically brilliant record that coaxes the listener through immersive phases of fun, chaos and harmony. 

"Ebi Soda drop a major gem with the arrival of their ethereal and electric, dance-inspired album Ugh." – Okayplayer 

"Shifting between breakbeats and loping tempos, the quintet beams out melodies like wide smiles." – Bandcamp 

"Scorching funk-leaning jazz with plenty of left field influences" – Clash 

"Ebi Soda continue to make their mark as one of today’s most forward-thinking new jazz bands." – Twistedsoul 

"Lively, frenetic tunes that will work the dancefloor, through to more meditative, cosmic psychedelia. Absolute killer!" – Sounds Of The Universe 

"Just fucking cool-sounding... great grooves from a great band yet again." – Jazz Revelations 

'Ugh', is a collection of tunes from Ebi Soda's first ventures into professional recording. The band have made sure to carry their DIY-centric identity with them, creating a beautifully-produced record with the band's raw energy still at the forefront. Explosive drum grooves and a heavy-usage of electronic effects characterise the fluid jams we hear on 'Ugh', with the project's opener 'Ecchi' setting the tone straight away as the song moves from upbeat dance-y rhythms to a nightmare-inducing dub soundscape. 

The ten-track project was recorded over a year from numerous different sessions, leading it to carry an air of sporadicity to it, with its genre-switching nature leading the band to consider it more of a mixtape than an album. Ebi Soda seek to surprise and alarm listeners with this project. 

A supreme soundscape! World premiere recording of a 1997 work by a composer/guitarist who has left his mark on the contemporary Mexican music scene! Eblen Macari has been ambitiously developing his unique musical style for 40 years, from the 1980s to the present. Production began. The work was inspired by the sound of the guitar and the ecology of the trees that make up the wood used for the guitar. The influence of Ralph Towner and Egberto Gismonti, whom Eblen admires greatly, and ECM Records, represented by Egberto Gismonti, is reflected especially strongly in Eblen's works.
・Remastered by Kuniyuki Takahashi
・First ever vinyl release (originally released in 1997 on CD)
・Limited to 500 copies
・For fans of Ambient, World music& ECM Records

A landmark self-titled album from Ghanaian legend Ebo Taylor, originally released in 1977, now reissued on vinyl by the esteemed Strut label. Rooted in the spirit of Afrobeat and the traditions of highlife, while weaving in jazz-inflected arrangements and the deep pulse of funk, this record stands as a defining statement of his career and a perfect entry point into the genre. The interplay of sophisticated horn sections and propulsive rhythm, together with Taylor’s spiritual vocal presence, creates a sound world at once grounded in local tradition and reaching toward the universal. A historic masterpiece that helped shape the future of African music, vividly reborn.

The Seed You Sow… Dud Shepherds met Echo Minott in 2016 through the Dub Master Clash project, a concept of dub events which saw several dub producers “clash” against each other (Pilah, Fabasstone, Anti-Bypass, Roots Raid, Dub Shepherds) with a lot of remixes and hardmix. Echo Minott Officiated as Master Of Ceremony on several occasions, and a solid friendship was born between the Jamaican and the young producers from France. From these clashes of reverb and echo was born a maxi 12”, “This World is ina Mess”, engraving in wax the first collaboration between Dub Shepherds and Echo Minott. To be continued... …You Shall Reap Someday In 2023, Dr Charty goes to Jamaica with a bag full of fresh riddims, and is welcomed there by Echo Minott. Do you see the blackboard ? We will spare you here the photos of the trip, and let us only select the fruit of this musical encounter, five titles that make up Mango Tree - Showcase. Enjoy Music Lovers!

イタリア、フランス、ベルギーと様々な国籍のメンバーが集うベルギー・ブリュッセル拠点のフューチャー・ジャズ・バンドであり、Gilles Petersonにも絶賛された要注目アクト、Echt!が2年ぶりとなる最新アルバム『Sink-Along』を〈Sdban Ultra〉からリリース。トラップからベース・ミュージック、ヒップホップなどからの多様なインスピレーションを取り込み、まるで、Jonwayne、DJ Rashad、J Dilla、Ivy Lab、Tsuruda、Aphex Twinによる夢のドッキング・ライブが頭をよぎる、比類のないコズミック・ジャズ・サウンドを生み出しています。

Fully remastered and licensed, limited to 500 copies. Reissued here for the first time, in an extended version, the only album by the British reggae band, originally released on Ball Record in 1978. One of the best kept secrets of the British reggae scene of the late 70‘s and mid 80’s who, with Steel Pulse, competed for the title of best reggae band in Birmingham. The album includes these eight tracks plus both sides of the band's final single and a couple of unreleased tracks.

Sink your mind into this trip of free floating compositions and loopy fragments, all the way from Copenhagen. Physical copy comes with silk-screen printed cover via Adagio for Things, recycled vinyl via Ramona Records and individual labels via Beatbude Vertrieb.

Glossy Mistakes is proud to unveil Ecstasy Boys Selections, a carefully curated collection of three mesmerizing tracks from the pioneering Japanese electronic trio Ecstasy Boys. These tracks released originally between 1990 and 1994, curated by Glossy Mario, revisits the innovative sounds of the group that shaped underground Japanese club culture during the 90s. While their influence remained largely within Japan, their music resonates far beyond borders, standing as a testament to the creativity and innovation that defined an era.

The Ecstasy Boys-formed by Mitsuru Kotaki, Shiro Amamiya, and Tatsuro Amamiya-were a driving force in the Japanese electronic music scene. Known for their eclectic productions and boundary-pushing performances, the trio captivated audiences and influenced a generation of local DJs, producers, and club-goers.
Ecstasy Boys Selections pays homage to this vital chapter in Japanese dance music history, highlighting the trio's creativity. The compilation includes three tracks that exemplify their unique blend of Balearic, leftfield house, and progressive sounds.

Ecstasy Boys Selections breathes new life into these timeless tracks while preserving their original character and depth. Licensed courtesy of Shiro Amamiya and Avex Inc. this release is an essential addition to the libraries of Balearic, house, and experimental music heads.