Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.

From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.

The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.

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For their 35th release Left Ear returns to the archives of Spanish Musician Jesús Mª Catalán and his project Respuesta Alternativa, or the Alternative Response. Unlike his previous release, the tracks from this compilation were not released at the time and the tapes only found recently, which had been lying dormant in a shoebox since their creation from the period 1987-1990. When not on the road working as a sound technician,

Jesús continued to craft atmospheric tracks in the quiet of his bedroom and later finished productions with the assistance of long-time collaborator Julián C. Pérez. Together, they captured simple themes, with the sound evolving over time. Transitioning from guitars, they incorporated vocal samples to weave enduring musical tapestries. Given Jesus’ geographic location (Spain) and the atmospheric down-tempo nature of the music, we wondered if the ‘balearic’ sounds had played a part in his productions. Jesus explains that “the distinction in the Balearic and Asturias Islands is marked by the different character of its people and the incidence of the weather, where the sea influences the Mediterranean Sea of the Balearic Islands is a calm sea. The Cantabrico de Asturias Sea is stormier”.

As a proud Asturian, Jesús was influenced by and payed homage to his surroundings, with lush breezy passages echoing calm ocean days and others reflecting sudden turns in conditions, weaving a stormier, more confronting layer into his already distinct sounds.

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Antipodean Anomalies 2 is Left Ear Records' most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato and& Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia and& New Zealand.

As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.

The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.

To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.

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Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music.

If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same.

This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

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Twin Cosmos is not only the name of the musical output of fraternal twins Morihito & Yasuhito Ito, but more philosophically, an album that encapsulates, “the universe of twins”.

The pair were born 1953 in Yokkaichi, Mie Prefecture. A port city 50 kilometres west of Nagoya, famous for its chemical plants. Despite their surroundings, they grew up in an environment that fostered learning and self-expression. From an early age, they began to carve out their own paths.

Morihito was fascinated with scientific endeavours, space travel and spirituality. His father, an electrician by trade - motivated him to build his own musical equipment. This led him to attend an acoustic engineering school in Tokyo from 1972-1974, after which, Morihito returned to Yokkaichi where he worked in the instrument and audio section of a department store. This helped him keep up to date with the latest equipment, while allowing him to simultaneously work on his own musical endeavours.

Morihito’s side of the ‘Double Action’ LP is a cohesive piece, which effortlessly drifts from one song to the next through samples of flowing water and rockets launching into space ,that were recorded while visiting his brother in the States. His music is carried by flowing vocal harmonies, guitar strums, and floating synths to create an eternal dreamlike ambiance.

In contrast, Yasuhito gravitated towards philosophy and the arts and in 1976 followed his Englsih teachers’ advice and moved to the ‘foreign world’ of the United States. It’s here that he further explored his interests in Christianity, sadomasochism and poetry. He was exposed to artists like John Cage and Sun Ra, as well as a variety of ‘Do It Yourself’ recording techniques that enabled him to record remotely.

Using samples, poetry, and an original approach to traditional folk & rock songs, he recorded his side of the LP. The outcome being provocative, dark and confronting realisations, which solely used English lyrics to represent his experiences in the ‘Western world’. In 1980, Yasuhito was wooed back to Japan by his brother and the prospect of a combined record release.

The self-released album ‘Double Action’, was completed at Victor studios in Japan. Without a distribution network, the release was sold mostly to family and friends and fell into obscurity. Despite not reaching commercial success, the pair have continued to make music over the past four decades, crediting it as their driving force in life. This 2022 release includes an insert with archival images & liner notes in both English & Japanese.

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Repress!

Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.

Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.

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Deep late 80's percussion LP created to accompany contemporary jazz-dance classes. African instrumentation meets Western Jazz arrangements and computer technology. TIP!

Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.

The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

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Left Ear re-surface with a compilation of music from Italy’s original “homewave” band the ‘Influenza Prods.’. TIP!!!!

Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing.

It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner.

In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”.

As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections

The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985).
Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.

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Repress!
Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.

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Repress!

Melbourne`s Left Ear have polished a lost, late `80s, Antipodean, Electro Soul gem. It`s creation no doubt inspired by the music of L.A.`s Egyptian Lover and the genre-defining output of New York`s Tommy Boy. However, the gear used, the sparse mix, the Eastern keys in the detail, and its erotic intent, make it sound more like Chris & Cosey backing a would-be Michael Jackson.

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Tester Housing was the short-lived band consisting of mates Bill Tolson and Ken Olver. The duo met during the early 1980s in the burgeoning Southside of Melbourne, St Kilda. Pitched along the bayside, St Kilda at the time was full of artists, painters, writers, poets and musicians. The suburb was the type of place where dwellers wore their hearts on their sleeves; the sort to be found sharing a jug at the pub after a fist fight. The St Kilda music scene during the late ‘70s and ‘80s was infamous, breeding bands such as the Primitive Calculators and The Boys Next Door.

Despite Tester Housing producing a modest handful of recordings, both were actively present in the St Kilda chaos. Bill established Prahran’s Greville Records in 1978 and later founded the prolific Rampant Releases in 1982, pressing the likes of Not Drowning, Waving and David Chesworth. The duo also played together in the new-wave group Gilded Youth, before joining forces and forming Tester Housing.

When asked about their reasoning for the bands short stint, they wink and answer “just say something interesting such as drugs and ego got in the way and after we both had a knife fight on St Kilda pier one night and we both decided to go into rehab for the next twenty years. Or alternatively, we just knew that if we continued to play music together we would become too rich and boring.”

To commemorate Testing Housing’s imprint Left Ear Records present Over You, a 12” of the bands two 1983 singles, The Clock Ticks Over and Into You with their counterparts, a dub version and a stripped back almost acapella. Their sound channels both that of the gritty Southside and the experimental Northside scenes to create youthful and enchanting synth-pop. Both arrangements are laced with themes of love, redemption and acceptance in a unique and compelling way.

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Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.

From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.

The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.

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REPRESS!!

Oddball Japanese electro-fueled vocoder funk with occasional raps from the 80s, including unreleased material...

Japanese Electro original, Minoru Hoodoo Fushimi, self-released four albums. Two vinyl LPs and two CDs between 1985 and 1992. Melbourne`s Left Ear Records have selected twelve tracks, for a double vinyl retrospective. 10 tracks from Minoru`s four albums and a further two unreleased tracks from the archives.

Minoru set out to combine his love of all things Funk with traditional instruments and song from his homeland. He uses shamisen on Thanatopsis. Where Parliament`s Flashlight, George Clinton`s Atomic Dog, ride with Osamu Kitajima`s Masterless Samurai. Shakuhachi on Mizuko No Tamashii Hyakumademo. Nohdashi puts koto with a Jimmy Castor riff. All set to popping and locking beats.

Minoru`s vocals switch between raps about cellular metabolism and haemoglobin, Soul croon and vocoder. On Shinz-San he adds Metal guitar to vintage Sugarhill. And he goes crazy with his sampler. Scratching in cats, frogs, babies, laughter, giggles, traffic jams, failing ignitions, opera singers, and amorous sighs. Furarete mixes elephant roars and Go-Go. Creating unique avant grooves that share something with Tackhead`s ON-U Sound System, Savant`s tape experiments, and fellow countrymen EP-4.

co-compiled by Left Ear Records and Jerome Qpchan

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'From a lost Australian electronic soul gem, to a cult classic: Shahara-Ja’s ‘I’m An Arabian Knight’ has gained much momentum since it’s 2017 reissue, so much so that the Egyptian Lover reached out to the label proclaiming he’d do a remix. The electro innovator who the original release appears to be highly inspired by seemed like a perfect fit for this sleazy late Night groover. The result is 3 fresh mixes using elements of the original session tapes and the perfect touch of the Egyptian Lover’s signature 808'

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Nigeria’s Kingsley Bucknor’s ‘Just U and Me’ LP gets the long-awaited reissue treatment from Melbourne’s Left Ear Records. After cutting his teeth playing with Fela in the 70’s and releasing two afrobeat LP’s Kingsley travelled the globe before finding himself in London, it’s here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he’d heard through his travels in the States and in Europe. Originally issued on Kinglsley’s own KAB records in ’85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.

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Left Ear are re-introducing another ten lost tracks from Nicholas Georgieff and Virgil Work, St Louis' basement electronics duo Workdub.

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Fully Remastered 2021 Repress - TIP!

Originally released in 1986, Brother Resistance's Rapso Take Over blends calypso, reggae, disco, funk and poetry to create the artist’s signature Rapso sound.

A progressive form of poetry from Trinidad and Tobago, Rapso emerged as a means by which to articulate the daily suffering symptomatic of the social unrest afflicting the nation throughout the 1970s and 80s. Brother Resistance played a significant role in the Rapso movement, deploying his music to spread messages of hope and liberation.

The authorities took Brother Resistance’s rising status seriously, destroying what they could of his studios and in the process leaving only a small amount of his music in circulation. Now for the first time we can hear Brother Resistance’s finest work remastered and repressed. The music and the message live on through Rapso Take Over’s stripped back rhythms infused with steel and strings, all carried by the voice of resistance.

Dedicated to the memory of Bro Resistance 1954 - 2021

Full Tracklist:

A1 Star Warz Rapso
A2 Wars In Space Dub
A3 Dancin Shoes Rapso
B1 Ring De Bell (Part 1)
B2 Children Of Soweto
B3 Rapso Take Over

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Recorded at the Philharmonie de Paris and one and a half years after releasing his magnum opus "Music For Animals"—described by PopMatters as “a musical waterfall of monumental proportions”—Nils Frahm shares a new live album, due for release by his LEITER label on December 6. In what’s becoming a tradition, it follows 2013’s "Spaces", a Pitchfork Album of the Year taped at shows over the preceding 18 months, and 2020’s "Tripping With Nils Frahm", also released as a film. "Paris", nonetheless, is Frahm’s first live album from a single night, March 21, 2024, and contains ten tracks over a running time of 84 minutes.

Frahm’s performances have always been known for expanding upon his studio recordings, and "Paris" is no exception. Drawing on his substantial catalogue, the German composer and producer reworks tracks from various albums, and also adds the brand new, luxurious and strangely gripping ‘Opera’ to the track list.

If he leaves the stage to the same uproarious jubilation with which he was initially greeted, "Paris" makes it clear why he’s been so in demand. He’s been booked, frequently for multiple nights, at halls around the world, including Sydney’s Opera House, London’s Barbican and LA’s Orpheum Theatre. Indeed, the LA Times wrote, “Watching him at work, and hearing the audience react, is a little like watching an athlete at the top of his game.” Expect nothing less from Nils Frahm on "Paris", a vital document of this ingenious, gifted musician’s endless pursuit of fresh perspectives.

All tracks written, produced and mixed by Nils Frahm.
Mastered by Zino Mikorey, recorded by Terence Goodchild.
Vinyl cut by Andreas Kauffelt at Schnittstelle.

All tracks published by Manners McDade Music Publishing Ltd.
Cover artwork and design by Studio Torsten Posselt.

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Zehn Jahre nach der Veröffentlichung ihres bahnbrechenden selbstbetitelten Albums feiern Kiasmos mit einer limitierten Auflage auf blauem Vinyl. Die Pressung ist weltweit auf 2000 Stück limitiert. Das Album, das allein auf Spotify über 100 Millionen Mal gestreamt wurde, ist zu einem unverzichtbaren Album der elektronischen Musik geworden und hat seitdem Künstler auf der ganzen Welt inspiriert. Nach der erfolgreichen Kampagne zum Nachfolgealbum ("II") Anfang des Jahres scheint es nun an der Zeit zu sein, sich darauf zu besinnen, wo alles begann: mit zwei Freunden, die im Studio experimentierten und Spaß hatten.

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Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

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Laurent Garnier is joining the ‘fabric presents’ mix series, and details are now out on this bespoke milestone release. The trailblazing DJ and producer is doing not one but four mixes as he embraces an opportunity to go even bigger for the London institution in its 25th groundbreaking year. A full-spectrum and multi-genre release, there’s a UK-focus, house, techno and downtempo mix. In his words, “diversity makes it richer, makes it better.” Eager to pay homage to the vitality of club culture, his vision is to take us through a rapturous weekend at fabric from Friday through to the afters. Making it even more unique, he’s also dropping an original four-track EP - one track per genre. Garnier: “Clubs have been my second home since the start of my career. Once you’ve witnessed that unique connection you can create in a club with a crowd, once you’ve experienced it from behind the decks, you just know you are where you’re meant to be. This special journey with fabric is of course a tribute to the legendary London club - a place that’s been a home to so many clubbers, DJs and music-lovers for so many years - but most of all, a tribute to all the dancefloors and all the clubs around the world.” Ploughing through hundreds of records a day, it’s no surprise to hear Garnier describe the track selection process as being “complicated”. His enriching trip through fabric spans over five hours with each mix coming in at 1 hour 20 minutes. Across all four, it’s clear that he’s immersed in the present and future-focussed with a majority of the chosen records dropping only in the last three years. The House Odyssey mix kicks off with afro house via South African producer Mr. Blasé, and the vibrancy continues through cuts from Cape Verde to Chicago as newer faces Culoe De Song, Neinzer and Tal Fussman meet linchpins DJ Spen, DJ Lady D and Mike Dunn. In techno, his Rhythmic Resonance mix is searing with high impact moments from Red Axes, John Tejada, Electric Rescue, Works of Intent, and himself as three of his own epic productions feature. A UK-focus underpins Garnier’s nod to fabric’s fervent bass devotees with the Into The Low-End session featuring Skrillex, MC GQ, Sami Virji and Martin Badder. On The Way Home sidles up to clubbers for a downtempo dust down with stunning explorations from Daudi Matsiko, Adriano Koch, Richie Culver and Melody Gardot, among others. His EP further showcases his mastery of genres. Luminous house cut ‘Odyssée Maison’ is in for spirited dancefloor grabs with Dan Diamond on vocals, while ‘Resonances From The D’ is for techno heads, glued together with tumbling rhythms, soaring synths and scattering hi-hats. ‘Playing With The Low-End’ is the bass-doused maze that looms large before ‘On The Way Home’ brings a shower of orbiting synths. One for collectors, especially as the uniquely-packaged deluxe vinyl and CD are limited editions, it drops as physical-only on 29th November. The deluxe LP includes a bespoke box, coloured vinyl of the mixes and 12” EP and a picture booklet of Garnier. The CD comes with embossed ‘25 Years of fabric’ aluminium cases and the booklet. Experience the essence of Laurent Garnier with this exquisite 4xLP sampler, featuring a selection of 24 tracks meticulously chosen by Laurent from his house, techno, UK, and ambient mixes. This release captures the full artistry of his mixes, providing a deep dive into his musical journey. Plus, with your vinyl purchase, you'll receive a download card for the digital mixes, available in 2025.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

A deluxe 16 track DLP edition of AMERIGO GAZAWAY's cult classic reimagining of his fav D'ANGELO cuts includes all the original tracks alongside their corresponding instrumentals, plus a few unreleased gems. A perfect mixture of hip-hop, gospel, house, neo-soul and R&B. Awesome full pic sleeve.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

The Tumbling Psychic Joy of Now, a ritualistic and expanding collaborative album between Holy Tongue and Shackleton.
Holy Tongue is Al Wootton, Valentina Magaletti and Susumu Mukai and they have collaborated with Shackleton to create free-form, high energy, spiritual dub-dance music.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More