SEALED

It's been six years since Nosaj Thing, the producer born Jason Chung, appeared among the vanguard of Low End Theoryaffiliated producers from Los Angeles. His debut LP Drift, a sleek and futuristic record shot through with a sense of melancholy, was hailed as a landmark record for the "beat scene", both embodying its aesthetic and transcending it with its focus on mood, texture on tone as much as on beats. Pitchfork called it "gorgeously haunted", and Resident Advisor said it "exists in its own dimension."If Drift was an impressive full-length debut, then Home, its 2013 follow-up and Nosaj Thing's first record for Innovative Leisure, consolidated that potential. Now, Fated is the sound of an artist whose sound has had time to mature. By stripping away anything he didn't deem strictly necessary, Chung harnessed a sound notable for its directness and emotional potency. Guest appearances are rare, save for vocals from Chicago rap phenomenon Chance The Rapper on 'Cold Stares', his unusually grave cadence deepening the paranoia of the already tense track, and Whoarei on 'Don't Mind Me'.

Music From Memory's fourth release sees the Amsterdam based label taking an exciting sidestep with the release of “Clouds”, an album of contemporary music recorded in spring 2014. “Clouds” is the debut album of Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land Of Light’s Jonny Nash and Marco Sterk (also know as Young Marco).Each of them established in their own rights, the three musicians from Italy, UK and the Netherlands, came together during a weekend long recording session in April of this year.Without preconceived ideas and developed around often purely intuitive improvised jams, the eight tracks on the album are all 'one take' live recordings. With Gigi Masin on Rhodes and piano, Jonny Nash on guitar, melodica, synths and trumpet and Marco Sterk on synths, rhythmic structures and production duties, the three of them succeed in developing a musical language all of their own.Recorded in the heart of Amsterdam's Red Light district, the album reflects the unusually warm Spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. Whilst on the more introvert late night compositions the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. With a heartfelt simplicity “Clouds” is a record of an inspired meeting of unique souls and unique surroundings.

London native Sven Atterton electrifies us with his debut eight song instrumental EP, 'The Cove'! This deep composition and delicate arrangements are a intimate introduction to a dialogue that is unique to Sven Atterson alone. The sophistication of his funk baptizes you from the very first bar, to the point where you can almost feel the ocean mist on your face.

PLAzA is the sound of Johan Churchill, a vintage drum machine and synthesizer freak, churning out a hybrid of playful acid house, boogie-funk, and italo, and often pairing it with a fine wine. Armed with the Oberheim DX drum machine, a 707, 202, Prophet 600, OB-8, Roland jx-Sp, and countless others, PLAzA corralled and manipulated this arsenal of electronic friends to create the Party Games EP in his home studio, The Voyeur's Loft, in San Francisco. The EP additionally features Moon B handling remix duties on the track "Night Lines", taking the track to an extra "nocturnal" location.

The Year Was 1972 And The Paths Of A Young Songwriter And A Record Label Owner Were Destined To Cross Paths. After Spending A Couple Of Years At Curtis Mayfield'S Curtom Records In His Hometown Of Chicago, Ron Grace Ventured To The Northern Suburb Of Waukegan, Illinois. After Recording Projects At Plynth Studios In Libertyville, Studio Owner Tom Izzo Intoduced Ron Grace To Morris "Ronnie" Moore, Owner Of The Tra-Mor Record Label. The Two Instantly Messed And Grace Produced A Single On Tra-Mor'S Lone Srtist At The Time, Ernest Jones. That Session Resulted In "I Can'T Live Without You" B/W "Broken Dreams". The Record Made A Bit Of Local Noise And Subsequently Became A "Northern Soul" Collectable In The U.K. After Making Grace A Partner At Tra-Mor, Moore Wanted To Expnd His Artist Roster. Grace Then Called On His Curtom Colleague, Cliff Curry Of The Notations. Cliff Proceeded To Connect Them With Group That He Had Often Worked With -The Procedures.Consisting Of Fred Escobar, Billy Sims, Robert Smith, And Anthony Mcdaniels, The First Release Of The Procedures Was A Tune Co-Writen By Fred Escobar And Brad Bobo-"Magic Mirror". The Arrangement Was Done By Chicago Legend Tom Washington(Tom Tom '84). Backed With The Instrumental Track, The Record Was Barely Noticed. For The Second Release In 1975, Ron Grace Offered A Une He'D Written And Cut On Himself A Year Earlier. His And Fred'S Voices Were Close Enough That It Stayed In The Original Key. "Give Me One More Chance" Would Be The Procedures Next Single, Backed With A Revamped "Magic Mirror". At This Time, The Procedures Themselves Were Revamped, With The Addition Of Walter Jones (Five Crowns: Notations) Replacing Anthony Mcdaniels. Tom Tom'S Arrangements Were Brilliant. The Sessions Were Cut At Gary Hedden'S Hedden Est Studios In Nearby Schaumburg. The Session Musicians Were Comprised Of Who'S Who Of Chicago Studio Players. Included Were The Likes Of Phil Upchurch, John Bishop, Bernard Reed, Quinton Joseph, Murray Watson, Sol Bobroy, Etc. -Veterans Of Many Brunswick, Chess And Curtom Recording Sessions.Alas, A Lack Of Distribution And Promotion This Record Hidden In Darkness, But This Kay-Dee Release Brings It Into Thee Light For A New Generation That Values Music Of A Bygone Era With New Mixes From Kenny Dope From The Original Multi Track Masters.

Already out in the ether since the summer, Kamasi's sprawling three-part jazz opus finally sees the light of vinyl day. Presented on heavyweight vinyl with his striking signature artwork, its delivery befits the album's rave reviews on its original arrival. Highlights, in case you haven't heard it yet, are the awe-inspiring switch from fusion to swing on "The Next Step" the album's overall sparing inclusion of vocal that make "The Rhythm Changes" really stand out and sparkle and the attention to detail on the narrative structure on reprise notes such as "Re Run Home". A must-have for any jazz/Brainfeeder fan.

Gatefold sleeve.Includes six previously unissued Milestone recordings (C1 to D3).

BACK IN STOCK Gatefold 180 Gram Vinyl LP + MP3 Download CodeIt’s the season of the juiciest, sweetest fruit, of shorts, tank tops and thongs, the time of year when you look at life through a dark pair of sunglasses. Summer is also the time of year when lovers of soul, disco, funk, bossa, jazz and other similar grooves get together to enjoy the sunny vibrations sampled by Guts and Mambo from the world over. Since 2013, this duo has trademarked and branded its acoustic discoveries with the appellation Beach Diggin’, a label that certifies the quality and rarity of its products and guarantees a maximum dose of sunshine for every groove. Braving the hordes of sugar-hungry bees swarming around boxes of Caribbean records, the humidity in the holds of boats, or jostling to save 45’s lying on the ground from being trampled underfoot, Guts and Mambo, at the risk of their own lives, have explored the most far-flung corners of the earth, all for a single purpose: To discover and to share.Because in the end, the geographic origin matters little. Even if the golden triangle of Brazil, Jamaica and Trinidad & Tobago remains the largest supplier, Beach Diggin’ is above all a way of being, a way of living the moment and life in general to the fullest. Permanent coolitude on the BPM, fast or slow, an epicureanism that is equally at ease whether its produced with a sense of Amazonian luxuriousness or the sparse comfort of a deserted beach, a reserve of a few degrees of heat to put on the turntable when it gets cold outside. So, it’s not surprising that tracks from Eastern Europe, North Africa, or the US have quickly received their stamp of approval. In this third compilation, just as in the previous two, the rule remains: Beach Diggin’ is a state of mind...