Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led astoried career as a composer, arranger, technician and producer, consistently aligned with someof the most exciting bands and projects within the realms of pop and experimental music. A figureas masterful in the realm of expansive ambient recordings as advertising jingles, its only in recentyears that Michals solo productions have gained acclaim and a cult following that continues togrow ever wider. Turtle made a long-awaited return earlier in 2020 with the extended On a Canvas Lived a Baby, aone-sided twelve of new material released on Planisphere Editorial. Now, the Basel based labelinvites a diverse and international cross-section of electronic musicians to reinterpret the artistsback-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixescollection was originally recorded between 1980 and 1985, in between Turtles regular tours withestablished bands. TRACK LISTING A1. Phantoms Of Dreamland (LH Mix) A2. Men In Green (Neue Grafik Rework) A3. End Of An Era (Felicia Atkinson Fennel And Moon Mix) B1. Our Man In (D.K. Remix) B2. Rainwater Fjit (Jimmy Edgar Remix) B3. Phil 5 (Lucrecia Dalt Remix) B4. Ball Of Fire (object blue version) C1. Maid Of The MIst (Nick H?ppner Remix) C2. Spookie Boogie (Luca Dur?n Remix) D1. El Teb (Mehmet Aslan Remix) D2. Are You Psychic (Parco Palaz Remix pt I) D3. Are You Psychic (Parco Palaz Remix pt II) D4. Maid Of The Mist (Oso Leone Rework) More

Following their release of the Michael Turtle 12” last year, Music From Memory now publish ‘Phantoms of Dreamland’; a compilation of works by the UK musician recorded between 1983-1985. This double LP features tracks drawn from the recording sessions for Turtle’s album ‘Music From The Living Room’ and also collects material Turtle recorded shortly after that, for an album which would never materialise. With three tracks taken from ‘Music From The Living Room’ and the rest of the compilation entirely made up of unreleased tracks, ‘Phantoms of Dreamland’ draws on an illustrious period for Michael. In 1982, at the age of only 22, Michael Turtle set up a portable four track studio in his family’s South London home, over-running his parents' front room with synthesizers, amps and instruments. Here he would create layered and deeply hypnotic tracks that were often built around live jams with musicians he would invite to his home. Although the music can appear to be sample based, all instruments were played live and any voices or sound effects were recorded directly to tape or from tiny cassette loops. Combining electronics with live percussion throughout, ‘Phantoms Of Dreamland’ reflects a deep sense of musical exploration and creates a uniquely other-worldly musical language of its own. More

For the second installment in their 12” series Music From Memory present two deeply forward thinking electronic tracks from British musician Michal Turtle made between 1983-4. The first track ‘Are you Psychic?’ is taken from Turtle’s obscure ‘Music From The Living Room’ album which Michal recorded literally in the living room of his family’s South London house at the young age of 22. Over-running his parents' front room with various synthesizers, amps and instruments, and setting up a portable four track studio the ‘Music From The Living Room’ tracks were built around live jams that took place alone or sometimes with musicians he would invite to play alongside him. Whilst seemingly sample based the instruments were played live and any voices or sound effects were actually recorded directly to tape, or put onto tiny 2.5 second cassette loops. ‘Astral Decoy’ was made in the year following the release of his only solo LP and forms part of a series of unreleased tracks that reflect a growing interest in combining electronics with more analogue elements such as Xylophone and live percussion. At the same time this track draws inspiration from the sound of electro and boogie which Michal had become greatly interested in at the time, and in particular the work of musicians such as Grandmaster Flash. With access to the archives of the many recordings made at his family home, this 12” serves as an introduction to a wider compilation of Michal Turtles works which is to follow on Music From Memory. More

Restock!

Invisible Inc once again presents another incredible full-length album from the talented Double Geography. Following on from 2020's “The Indoor Gardener”, the new LP “Open Water” is bathed in a similar blissful atmosphere...it would be appropriate to describe it as rather sublime.

Double Geography aka Duncan Thornley (one half of Weird Weather and studio engineer at MAP Studios), following the success of his debut album “The Indoor Gardener” (also on Invisible Inc) had sent Invisible Inc label boss GK Machine demos of his second and third album, which the label reluctantly declined on the basis that the music didn't sound quite right for the label. However, this fourth studio album fits the bill perfectly. Leaning towards the label's more ambient and laidback output, the album is themed around water, moving on and escape and sounds as unshackled and free-flowing as you'd expect...you can almost feel the breeze in the air and the sun on your skin.

The album is a progression from his previous releases, this time featuring several additional guest musicians, including stalwarts of the London jazz scene Greg Foat and Kaidi Akinnibi, to compliment Thornley's electronics...adding a complexity and depth to each of these compositions and an overall 'organic' quality that makes these new pieces sound like quite a departure from the first album. Fretless bass, clarinet, piano and saxophone decorate the music with refrains and melodies that have been enchanting our reveries since first hearing them.

“I wanted to incorporate some live musicians on this release so called upon some of the talent I'd worked with as an engineer at MAP Studios...that was the main drive behind the music for this release. The tracks are named after things that relate to either leaving behind canal boat living, e.g. Goodbye Great Escape (Great Escape was the name of our boat) or memories from a trip to Hydra, Greece. All sorta water related… On one of our walks around the island we ended up sharing a beach with Pierluigi Collina hence Famous Italian Referee! That track felt like the weirdest of the bunch so it got designated the weirdest name / memory!” (Duncan Thornley, March 2024)

Duncan Thornley - synthesizers, programming, percussion
Adam Hayes - drum kit, roto-toms (A1, A3, A5)
Pike Ogilvy - congas (A2, A3)
Jasper Osbourne - fretless bass (A1, A3, A5)
Kaidi Akinnibi - tenor and soprano saxophones (A1, A5)
Simeon May - bass clarinet (A2, A3, B2, B4)
Greg Foat - piano (B1)

Recorded and mixed at MAP Studios, London
Mastered by James Savage at Milk Mastering
Cyanotype photography by Lydia Dique
Sleeve layout and design by Gordon Mackinnon More

Repress!

Konduku returns to the nest for the fifth and final installment on his Nous'klaer Audio K-series. A diverse four tracker embodying Konduku's signature style of poly grooves and vibrant euphonies. A flow from dark to light that marks the end of this special series of releases. More

DJ Support: Laurent Garnier, Danny Krivit, Chrissy T, Mousse T, Lenny Fontana, Danism & Train, Mr V, Quentin Harris, Natasha Kitty Kat, Eric Kupper DJ Pope, Danism + Train, Saison, Sean McCabe

Physical Education make their debut on SoSure Music with the ‘Sweet Talk EP'. Now based in Barcelona and Prague, Physical Education is the brainchild of Luke Scheybeler and David Philips. The duo’s production alias is synonymous with a soulful, jazzy, sample-heavy sound, meticulously crafted at their studio in the Pyrenees mountains. With a musical history than spans almost thirty years, Physical Education are producing music with a strong focus on musicianship and hardware-based production. Title track ’Sweet Talk’ is a smooth and superbly produced slice of jazz-influenced deep house while ‘Work On That Soon’, ‘Oscar’ and ‘Dreamsville’ (a vinyl only exclusive) are also included here and fully compliment this release to complete a standout debut EP. More

The 3rd release in the IMPROX series explores the uncharted territories where electro, techno, bass and breaks converge. Once again, 7 tracks to feed your need. More

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Gator wrestlers power pack... Beware..! More

When the TSA agent left a little note in Mike Huckaby's DJ case at the airport instructing him to protect the records that he DJs with, little did he know that Mike Huckaby would be compiling his first LP. A collection of previously released tracks that have been in demand ever since. All tracks are much louder now, and are remastered. This is also a collection of classics produced by Mike Huckaby. Enjoy! More

Not much is known about the crew behind 'Mistafide', their government names are listed online but this is the only record they put out using this name. Suffice to say, this has no impact on the fury and style with which the MC's deliver their raps, backed with the studio nous of impresario Peter Brown. Across 12 minutes 'Equdity Funk' is a slamming Disco-rap monster, interpolating elements of the evergreen B-boy jam 'Theme From SWAT' it sounds like everyone just got into the studio and went for it. In the style of the times this is the real hip-hop flavour, a live band, some MC's and some death defying bars being dropped, proper old school. A truly rare recording, 'Equidity Funk' has been one of those records fans of the Disco-rap era have been fiending for for decades - often commanding prices over the $1000 mark you can now grab this slice of essential NYC street Funk. More

Amazing floaty modern soul / disco goodness out of late 70s Queens, NY. 'Love Is The Same' two brilliant and different versions, both dancefloor fire… Mark Beiner met Ben Iverson in 1976 when I was 17 years old, at the time he was a junior at Newtown High School in Elmhurst, Queens. Mark had taken a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson, the "Frozen Food Manager." Back then Mark remembers, 'I was going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets."' In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break-up with my college girlfriend, Paula. Ben and Mark went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs. The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, along side Neil Levine, Stan Stockley, Tom Russo. More

Soulstatejazz, under the leadership of the multi-talented Tom Ellis, unveils their latest auditory adventure, “SOL 3”, released on Chapelle XIV. This double LP vinyl is a symphonic journey, demonstrating a matured finesse in blending jazz, electronic, and house music. Recorded in the creative hubs of Mark Hand’s studio in Hartlepool and the Malt Barn studio in Wales, “SOL 3” is an embodiment of musical innovation and collaborative spirit.

Tom Ellis, showcasing his virtuosic skills, handles drums, percussion, bass, guitar, piano, and synths, setting a dynamic foundation for the album. Mark Hand’s mastery of the Fender Rhodes and synths adds a melodic depth, complemented by Michiel Renger’s soulful tenor sax. Dave Elson’s contributions with electronic percussion and effects, coupled with Vicky Flint’s mesmerizing trumpet and flute, create a rich, multi-layered soundscape. The inclusion of Bugu Pala and Charles Morgan’s evocative vocals further enriches the album’s diverse palette.

“SOL 3” stands out as an exploration of rhythm, melody, and improvisation. It is an album where each track seamlessly transitions into the next, creating a continuous musical narrative that is both engaging and transformative. The ensemble’s ability to fuse diverse elements into a cohesive sound is remarkable, making “SOL 3” a testament to their creative evolution and a landmark in contemporary jazz and electronic music.

Released by Chapelle XIV Music and distributed by Yoyaku Distribution, “SOL 3” is not just an album; it’s an experience. It’s a vibrant, eclectic mix that is poised to become one of the standout releases of the year. This album is a must-have for aficionados of jazz, house, and electronic music, encapsulating the essence of live, improvisational brilliance.

Tracklist:
Part 1 :
A1. Is It Us? – 09’43
A2. Back Again – 06’14
B1. Rebels Reprise – 07’40
B2. Getcha – 06’43
Part 2 :
C1. Meaning Shift – 07’22
C2. Memetic Boogaloo – 06’51
D1. Pole Star – 06’25
D2. Counter Balance – 11’13 More

Every now and again, a record carves itself an indelible place in the history of a place, a scene or a genre, all under its own steam – without a big budget, without a press campaign, without mainstream radio, just by hitting all the right notes at the right moment. Maybe you had to have been there to really feel it – locked into the pirate stations, a regular at the right clubs, or leaning on the counter in the right records shops on a Saturday afternoon – but if you were, there are some tunes that will always vibrate with the underground cultural energy of their time. Bô'vel's 1996 Manchester streetsoul anthem 'Check 4 U' is one of those tunes. The kind of song that makes the over-used phrase 'underground classic' mean something again, it effortlessly distills the sounds of its era into one of the most undeniable, genre-spanning cuts of the mid-1990s. The song resonates with the regional flavours of UK sound-system culture: the sweet club sound of Manchester's vibrant streetsoul scene, the dubwise hip-hop throb of the Bristol movement, and the bass-lore of the reggae sound systems whose wisdom stretched from Leeds to South London and beyond. Built around a humid kick drum and a bin-busting bass pulse arranged in head-nodding syncopation, the song is blessed with an instantly memorable harmonised hook, and perfectly set off by Bô'vel's crystalline vocals. Upful, stepping and tinged with melancholy, it remains one of the most well-loved and highly sought-after UK streetsoul sides. The three mixes of 'Check 4 U' appeared as the a-side of a blank-label five-track 12". It was Bô'vel's second release, after a soulful five-track EP issued in 1995 on her own Bô'vel Records had been a surprise success. Produced by Kev Waddington, that initial record had come about almost by accident after a chance encounter in Manchester's HQ Studios, as Bô'vel recalls today: 'We were making these five tracks because we were having bit of an argument with radio not being able to play what they wanted, really, only what the record labels wanted… they never had anybody coming through properly, because everything was pretty much underground. We were making records, like really pop stuff, to take the piss… So in the studio one day, this guy came in – all I know is that his was name was Nigel. And he came in and said, I want to put that five-track EP out with you. We just don't know who the hell he was to this day, really. And he said, you've got to do it 50/50, it's going to be £1000. So I said okay – I just trusted him. I gave him 500 quid. He gave me 1000 records. He just dropped them at the studio. I picked them up and then I went into Manchester city centre and gave it to a couple of DJs on underground radio.' Pirate radio loved it. With play on stalwart Manchester pirates like Buzz FM and Soul Nation, the EP immediately blew up. Bô'vel took the record into Fat City Records, Manchester's premier outlet and distributor for soul, hip-hop and dance, who took a batch, quickly sold out and took several hundred more copies; it eventually transpired that a large quantity were selling to Japan, where the combination of soul smarts and classy production had been caught by discerning ears. Elsewhere, friends distributed the record by hand in London and Birmingham, working them through UK's then burgeoning network of independent dance music shops. The warm reception the record received encouraged Bo'vel to return to the studio for sessions that would become 'Check 4 U'. The EP had been issued under a Bô'vel Records imprint, but she had sold it to Fat City without disclosing that she was the artist – 'I said, "There's this singer, she's great, she's done this cheesy stuff, try it, it's a bit Kylie Minogue". He said "oh, give us 300", and then he had some more.' For the next release, she decided to keep things completely minimal. 'The next one, I said, right, let's just put it out as a white label, and if people like it they like it, they don't have to see who we are or anything.' Though punitive legislation and overexposure had tamed rave culture, and the inflated status of superstar DJs had pushed once underground scenes fully into the mainstream, dance music culture in mid-1990s Britain still retained a certain feral energy. There was still a groundswell of vital local scenes and rapidly changing musical styles, and – combined with local record shops – clubs and pirate radio were still the chief arbiters of influence. 'In the 90s, pirate radio just played the best music. I mean, you couldn't really get music like that anywhere. The same as you couldn't get music like that [being played] in the Reno, which was very different,' remembers Bô'vel, referring to the legendary Moss Side soul club, an underground institution from 1962 until its closure in 1986. 'That's where music really started for me, going to clubs like the Reno at the age 15, 16, 17, and going to places like the Nile [upstairs from the Reno], which was all reggae, you know – that's really where the beats came for me.' The production on the new record would reflect these influences more than the EP had been able too. 'I liked a big bassline,' the singer reflects. 'There's a big bassline there on the five-track EP, 'I Can't Get By', which is a really, really good song, but they just could not get the bass – I was so gutted when that came back…if they'd have shown us the master we'd have said no.' These problems were to be avoided on 'Check 4 U' by the involvement of producer Uriah Gale. 'We already had the tune, and Uriah came on board, and I said, it's just not soulful enough. I was working with Kev Waddington, and he said "I just can't do it." So when Uriah came along, the bass was there, but he tidied it all up and made it really cool, and he was tremendous on the harmony,' she recalls. 'Out of all the mixes, his was the best. He was incredible to work with, and also incredibly talented. With alternate mixes of 'Life Changes You' from the 1995 EP as the b-side, 'Check 4 U' was issued with blank blue labels and sent out with a DJ one-sheet describing Bô'vel as 'Manchester's favourite soul Diva'. 2000 copies were pressed, and the record was distributed by Jetstar. It quickly became another pirate radio hit. 'Soul Nation and Buzz FM did support me from the very start [along with] every single DJ on Manchester radio,' she recalls, 'They're my biggest fans, the DJs here, I've got to big them up!' Manchester's support was mirrored by pirates around the UK. 'We had the support of radios across the country – I just could not believe it. So we went on a tour… We would go to the pirate stations, do an interview, then do a gig – that's how the gigging came about… gigging in Birmingham, Huddersfield, Liverpool, London – I've got so much respect for the pirate radios down there. They were brilliant… We used to take all my stuff straight to London,' she remembers. 'Each radio was doing pretty much the same thing, in their own style, with their own beats. Like, when I went down to Bristol, I showed them the EP and 'I Check 4 U' and they said, hey girl, you've got the Bristol beat!' But her core audience was at home in Manchester. 'London did support me a lot, but not like my home town – they loved me as I love them… Manchester supported me through and through, to this very day,' she remembers. Performing in mid-1990s Manchester was not always straightforward, though: 'In Manchester, it was kind of hard to do gigs, because there was a bit of gang warfare. So, you know, that was a problem. You'd be doing a gig and they'd all be there in their [bulletproof] vests, you know, Cheetham Hill and Moss Side, and it was a bit of a nightmare. And because I was more Manchester side, even though I went to school in Cheetham Hill, I was with a guy from Moss Side. So it was pretty hard gigging in Manchester, I had a bit of a hard time.' Nevertheless, 'my gigs were packed to the rafters…I wasn't scared because I knew I had protection. The gigs were fantastic, here in Manchester and everywhere, and I'm glad and very grateful to be able to say that.' A further single followed – the garage-flavoured 'Earthling', made with producer Ben Stansfield – but this would be her final release. 'My life changed,' she remembers. 'I had a split… I was just bringing my daughter up. I used to live in the countryside, and I was having a bit of a different life… I just spent a lot of time writing when I split up – I couldn't sing, it was like my voice wouldn't work. I was just thinking all the time, and not speaking. So I was just speaking through my music… I just became a writer, and I was more looking for other people to sing the [songs], you know? Because there's a lot of talent here in Manchester.' However, she retained access to a studio, and over time she began to record again, working with various producers and amassing a large amount of material. It is this unreleased material that we collect on Life Changes – nine unheard Bô'vel songs from the period 1997-2008(dates?), selected from her own archive. Until now, none of this unreleased work has been heard. Not an artist to be constrained by genre, the music showcases Bô'vel's exploration of a wide range of styles, from the dubbed-out downtempo of 'My Man' or 'I Wanna Be Free' to the updated streetsoul of 'Let Down And Liar', via the breakbeat hype of 'Do It Your Way' and the straight-ahead reggae vibe of 'Daydreamer'. This unreleased music is presented alongside the unfadeable 'I Check 4 U' and two classic streetsoul cuts from her 1995 EP, 'Life Changes You' and 'Coming Back'. The common denominator across the album is of course Bô'vel herself: a singer of rare timbral clarity whose musical vision has determined the sound of every record she has made, a prolific and personal song-writer in the UK soul tradition, and the artist behind one of the most celebrated underground soul tunes of the pirate radio era. Still most definitely someone to check for. More