We are thrilled to announce details of the next instalment in our ongoing series.
Bustin’ Out 1983 : New Wave To New Beat Volume 3 is released 20 September on CD and 4-track 12” sampler.

Tracklisting:

1. Anne Clark “Sleeper in Metropolis”
2. John Carpenter “The End (Sound Version)”
3. Special Request “Salsa Smurf (Vocal Version)”
4. Twilight 22 “Electric Kingdom (Kingdom Version)”
5. The Neon Judgement “Fashion Party”
6. Front 242 “Take One”
7. The Unknown Cases “Masimbabele”
8. New Order “Your Silent Face”
9. Laid Back “White Horse”
10. Koto “Chinese Revenge (Dub Version)”
11. The Jonzun Crew “We are the Jonzun Crew”
12. Liquid Liquid “Optimo”
13. Xmal Deutschland “Qual (12” remix)”
14. Cocteau Twins “Sugar Hiccup”

Click here for more info.

To celebrate our re-issue of the SOUND IRATION "IN DUB" album, we are excited to bring you an exclusive free download of a Sound Iration promo DJ Mix from MANASSEH.

Taking inspiration from his legendary Kiss FM shows, the mix is peppered with sirens, FX and infamous Manasseh jingles.
ENJOY !

The Manasseh DJ Mix can be downloaded here.

You can buy the album here.

Second in our series of ‘New Wave To New Beat’ series, charting the groundbreaking developments in electronic based music through the ‘80s, features Gary Numan, E.S.G., Man Parrish, Mark Stewart, Colourbox and Portion Control amongst others.

Bustin’ Out 1982 will be released on 24th May 2010. Click here to order.

“…fascinating and almost disturbing electronic avant-innovation” Record Collector
" An intriguing snapshot of a time when the underground kicked against the pricks and almost anything appeared possible." ROCK SOUND
"You have to say 1982 was a pretty good year for decent, innovative music given the quality and diversity of the artists on this particular compilation" 4 STARS BIG CHEESE
"DJ Mike Maguire spins Man Parrish, ESG, Dub Syndicate and Portion Control and it all sounds terrific" 3 STARS MOJO
“Fearless classics that simply f**k the test of the time” ***** DMC Update
“A gratifying blast from the past” – The Independent

The first in our series of New Wave to New Beat compilations 'Bustin' Out, The Post Punk Era 1979-1981', will be released on 15th of February. The music termed post punk is well represented in many of its diverse strains by some of its prime movers; encompassing anything from Tubeway Army's austere electronic pop on 'Replicas', through to 23 Skidoo’s atmospheric tribal boogie on ‘Gospel Comes to New Guinea’, every track charts a different musical seam, which invariably proved to be highly influential, from Killing Joke’s ‘Almost Red’, to Belgian new beat pioneers Front 242’s ‘Body to Body’ to Bill Laswell’s Bustin’ Out and Tuxedomoon’s gripping ‘Desire’ ………….

For a tracklisting, further info and to buy the album click here.

It took a while, ten years in fact, before the music, mood and majesty of the mambo entered the mainstream. Cuban bandleader Perez Prado first introduced the dance at La Tropicana night-club in Havana, and through a natural and gradual process the message quickly spread. Taking its name from a variety of sources including a Haitian voodoo priestess, the mambo was a flamboyant form of self-expression that blended rhythmic swing with ethnic canción.
In 1954 the zeitgeist began to infiltrate the pop scene, and the nation's best-sellers were suddenly blessed with a string of self-evident song titles - 'Mambo Italiano', 'Papa Loves Mambo' and 'They Were Doin' The Mambo'.
Now, for the first time ever, all of the elements of this fascinating music have been brought together by compiler Stuart Colman for the Fantastic Voyage CD "Mambo in the Mainstream". One listen and the feelgood factor will ascend to an all-time high.

Also available on shrinkwrapped 180 gram deluxe double vinyl format.

Click here for more info.
Click here to Buy the Vinyl.

There was nobody quite like Lightnin’ Hopkins. John Lee Hooker may have made more records but even he couldn’t match the consistently high level of Hopkins’ creativity. He and his vast repertoire represented the epitome of Texas country blues. No question. He came from a musical family and his unique guitar style was fashioned from the traditions he learned in the presence of Blind Lemon Jefferson and Texas Alexander, a distant cousin. His guitar both underscored and complemented the songs he drew from his own life and the lives of those around him. His recording career began in 1946 and hardly paused for the next three decades.

Lightnin’ Hopkins went on from these recordings to become an international blues star before his death in January 1982. He may have travelled in foreign climes but his heart was always in Houston’s Dowling Street, amongst the friends and neighbours whose lives he memorialised in his songs.

Click here for more info.

This set has been compiled to represent the three most commercially successful groups of the post-war explosion of traditional bluegrass from its “labour pains” in 1945 through its widespread acceptance in the late 1950s shortly before the revolution in progressive bluegrass. As with the beginnings of all new music, early bluegrass was fraught with animosity between rivals and former colleagues, incestuous relationships between the personnel of the first bands and professional jealousy, but these three CDs contain arguably the greatest examples of this newly-minted music from its greatest purveyors.

Our first disc is devoted to Bill Monroe & His Blue Grass Boys, the second to Lester Flatt and Earl Scruggs whilst Don Reno, Red Smiley & The Tennessee Cutups take care of disc three.

Click here for more info.

Welcome back to the Ember Lounge where you’re now greeted on the door as a regular. The soundtrack remains an impeccably blended cocktail of predominantly sixties recordings. Equal measures of top notch easy listening (courtesy of John Barry and Mark Wirtz), light jazz featuring some of Britain’s top names (Tony Crombie, Bill Le Sage, Ken Moule and Tommy Whittle) and torch songs from divas Annie Ross and Lita Roza, are blended with sumptuously-arranged pop from Twiggy and Chad & Jeremy, spiced up with a couple of novelty instrumentals and a single shot of funky rock. All sourced from the vaults of British indie label Ember. The mood ranges from breezy, to exhilarating, to exotic, ending on a melancholic note, as you reluctantly take your leave and hail a cab home.

Click here For more info.