"Dark moody vocals meet super disco beats: This is what it sounds like when pioneering DJ and producer Jens Mahlstedt invites Saâda Bonaire over to his studio.

Stephanie Lange and Claudia Hossfeld, the original singers of legendary Eighties band Saâda Bonaire, plus founding member Ralph “von” Richthoven are teaming up four decades later for two very special takes on “You Could Be More As You Are”. Out now, exclusively on twelve inch vinyl."



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Now and again, an album project with no home comes along out of the blue, demanding to be licensed and shared with the world.

It was unearthed on one of Paper's digging trips. BOM's album sounded like nothing else out there, only the future. Shrouded in mystery and country-of-origin unknown, Africa runs through its DNA, but sometimes mysteries are best left...

Ase - a Yoruba philosophy signifying the power that makes things happen and produces change; given to Gods, ancestors, spirits, humans, animals, plants, rocks, rivers, songs and prayers.
BOM takes influence from all corners of Africa and its diaspora, blending them with 25 years of Western electronic music into a melange of forward facing, leftfield afro futurism.
The album features one of Africa's brightest rising stars, Luka Productions (from Mali), cosmic poet Sirius Rush (UK) and master drummer & vocalist Felix Ngindu (DRC/Liverpool) for a journey into kaleidoscopic Afro-tech funk. Gqom, Shangaan electro and township funk rub shoulders with hip-hop, bass, deep house and dub for a psychedelic celebration of collaboration and possibility.

As geographical and musical barriers are broken down, BOM's 'Ase' album is leading the charge; London to Lagos, Lisbon to Sao Paulo, Bamako to Berlin, BOM captures the sound of the underground.

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6 track EP from the great TBZ on his own private imprint. Bringing the computer syntheses un-realness on this one - still allowing the record to hum with the fresh low slung flavors we love him for..

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Tracklisting
A1 Cristian Sarde - Love Tea
B1 Bakked - Effect171

Sales Note
Release 0 by Cristian Sarde & Bakked
300 copies limited
10" Trasparent


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Noise, art, experimental music band Gray, founded by Jean-Michel Basquiat in 1979, has released their 2nd album titled, “Last of the Beats,” a reference to the lyrical poetry featured on the album, inspired by the likes of Allen Ginsburg and William S. Burroughs (Gray's first album was “Shades Of…,” released in 2010, a true collector's item today). Original Gray members Nick Taylor and Michael Holman conceived of this sonic and verbal work of conceptual and intellectual beauty, knowing they would be collaborating with a variety of celebrated musicians and lyricists, including: James Lavelle of U.N.K.L.E. (and Mo'Wax Records); writer and Downtown New York editor Glenn O’Brien of GQ and Interview magazines; Spike Lee actor and spoken word artist Roger Guenveur Smith; music producer and Digable Planets' DJ King Britt; John Cale Band and Andre 3000 drummer Deantoni Parks; legendary Hip Hop music producer Arthur Baker; “The Widow Basquiat” Suzanne Mallouk; 1970s New York scenester and poet Victoria Galves; with liner notes written by famed American art critic Carlo McCormick

Carlo McCormick Liner Notes:

These grooves are the product of stealth engineering, improvised like an assassination five years in the planning, a conspiracy of creativity meant to slip in the truth while savoring the fiction. It's impossible to fathom just how hard it is to make something so easy, to instill endless complication within eloquent simplicity, to tear the whole damn thing down so that the jagged broken parts actually fit back together, but the slack laidback beauty of Gray is that they are not in any rush, like the slo-mo suspension of time in our hyperaware perceptions before sudden and inevitable impact, this is the sound of deceleration, an unwinding that takes your breath away.

To the last of the beats, here's the last of the at last, the song of the swan to the unborn, the clinging desire of the last dance, the just deserts of a last meal, what adheres grasping and gasping at the edge of forgetting like the muscle memory of a dream. Track by track, Gray excavate the senses and sensibilities of forlorn fables, the heroic slipping off crumbling pedestals, a city of need revamped as a city of greed, the light flickering, overcome by shadows, places and times conjured like a sonic psychogeography of passing and absence.

Their music has traveled a very long way to reach our ears, rewritten, rerecorded, recollected, remastered and renegotiated over and again by two artists, in constant dialog, spaced out in deep focus, a four-legged split personality in dogged single pursuit to somehow get it right. You can hear that distance in these songs, the harmonics of process like a reverberant echo, the undertow of an undertone, the taste of ripening.

Only the truly young can hear the ghosts singing, but it takes an old kind of wisdom to make out their words. That's the post-modern contradiction of this band; where novelty sounds classic and stories unfold as allegories of metaphors, landing from far away with undiminished urgency. Two guys, Michael Holman and Nick Taylor, stubborn enough to forge their own musical tempest apart from the meddling, marketing and machinations of any music industry, yet slick enough to enlist an unimaginably brilliant cast of collaborators, Gray is the carefully curated composition of a community, the common sound of disparate voices, the mix of the melting pot, the noise of incompatible agreements. Pastiche and pluralism, it's a collage cut up and still bleeding, the angry graffiti on a wall of sound, the melodies that linger like a sweet aftertaste of lazy pleasures, the battle cry of the vanquished sounded in the survivors' silence, the dance of the reckless to the tempo of an impending disaster, the tone of resistance in a note of rebellion, the voices of visionaries talking over, and under, the din of time's cruel march, correspondences rich and textured in a lost chord yet to be fully decoded. The references are dizzying, disorienting and defiant to the reductions of genre, chaotic and unruly dissonance given rhyme and reason, blues with a beat, art with a purpose, lyrics that bruise, the sound of repercussion struck with a vengeance. This music is so stone cold cool it's hot to the touch;deep downtown and dirty like a lethal seduction, a collective memory that needs no introduction.

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A Powerful Dancefloor Anthem Unleashed.
For Promotion Lemon Use Only. Only Vinyl.

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Big tip!
Revised 8 track version of Maria Somerville's much lorded debut album. Features and additonal cut 'Lakes' - a 5+ minute blown out instrumental record live on tour in 2019.

" Stirring and beautiful songs, with a consistent optimism underlying even the murkiest of moments."

Recorded in Connemara and Dublin. Mixed by Brendan Jenkinson. Mastered by The Bastard.

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Javi, a Spanish producer based in London, has predominantly kept his work under wraps bar a digital self-release and a few dub plates sporadically hand-distributed to a select few friends. His first physical release takes the form of a biopic in sound, encapsulating the past decade he spent in London across four distinct tracks.Side A opens with Medway to Old Ford, inspired by early 2000s tech-house; the rhythm and bass set the mood for a solid warm-up. Followed up with Eyelash (Electro Mix), a versatile DJ tool combining breakbeat and electro with a cheeky twist. On the flip side, Future Drive is a bouncy number with swirling arpeggiated melodies and a deep, pulsating bass. The EP closes with Shifting Reality, an Italo-disco tune with melancholic harmonies that pays homage to the early electronic scene of Valencia, Spain.

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The follow up to Deep Heavy Fear's Saâda Bonaire-produced single Dark Days, Doorway sees the group continue its hand-played versus programmed journey into the realms of dance pop. The title track takes a non-linear venture into 9/8 to the floor vocal Balearic/dub territory, via impressions, illusions and misrepresentations, to the reverse - Cherries delivers a simpler, but no less appealing cut, down a classic pop path with tolling guitars and striking percussion. Once again self-pressed & presented in a hand-printed & numbered multi-colour sleeve, designed by vocalist Chloe Grove.

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A modern day mashup classic from AMERIGO GAZAWAY that takes the Afrobeat rhythms and music of FELA KUTI and mixes it with the rap stylings of DE LA SOUL. Awesome.

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Guilty pleasures anyone? The infamous D.J. J.A. reworks the 1986 classic „Tausendmal Du“ by MF. Du weißt was dich glücklich macht!

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New MIDEX EP - a no label release linked to John T Gast's 5 Gate Temple BUT NOT out on 5 Gate Temple

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