Search:2 in the disco

The Capitols were an American, Detroit, Michigan-based soul trio, widely known in 1966 for their Billboard hit single "Cool Jerk". After playing predominantly small gigs, they were discovered by former Ann Arbor radio DJ Ollie McLaughlin after performing at a local dance.

The mid-1960s saw many dance crazes; one of the most popular ones was a dance called "the jerk". Seeking to capitalize on the popularity of the dance, and dance songs in general, The Capitols member Donald Storball wrote the song "Cool Jerk", which was later recorded in Detroit with Motown house band The Funk Brothers. The single was released late March 1966 and became a hit, reaching number 7 on the Billboard Hot 100. Ever since, it has been used in many movie soundtracks, including More American Graffiti, Home Alone 2: Lost in New York, and Madagascar 3. The group released eight additional singles after "Cool Jerk".

So, let's crank up the stereo and Dance The Cool Jerk!

Dance The Cool Jerk is available as a limited edition of 750 individually numbered copies on red coloured vinyl.

Recital publishes the first vinyl edition of Let the Darkness Fall, a forgotten corner from the vast discography of Suzanne Langille & Loren Connors. Joined here by David Daniell and Andrew Burnes (of the Atlanta-based group San Agustin), Darkness was recorded in the summer of 1998 on a Tascam Porta-5 in Loren and Suzanne’s Brooklyn living room, and issued the following year as a limited CD by Secretly Canadian.

The tender gloom of Let the Darkness Fall sounds like a broadcast of some private séance. The trio of guitarists here show a beautiful restraint, hovering just underneath vocalist Suzanne Langille’s ephemeral poetry. Once they hit RECORD, the sensitivity of the players melded this quartet into a sole-entity; finishing each other’s phrases in slow motion. Suzanne’s gentle voice glows through the wispy guitar shadows with a quiet determination. One could almost imagine her building a nest out of the guitar lines she’s gathered.

This collection of musicians is a precursor to the band Haunted House, a wild sort of jam-band playing the blues without playing structure. Recital continues the series of Loren Connors-related editions, stretching from his art books Wildweeds & Night of Rain, to his masterpiece solo LPs Airs & Lullaby. And Recital is equally thrilled to highlight Suzanne Langille’s mystifying command of voice and word and the intricate guitar work of Andrew Burnes and David Daniell. Come revisit the mist that filled that living room 25 years ago.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in September 1994, Universal Mother was described by Sinead as "the first attempt to try to expose what was really underneath a lot of the anger of the other records". The album features sparse, striking but delicate arrangements on intense and honest songs. Standout moments include the singles 'Thank You For Hearing Me' and 'Fire On Babylon', along with contributions from Germaine Greer (opening track 'Germaine'), and Sinead's son Jake Reynolds ('Am I A Human?'), plus a cover of Nirvana's 'All Apologies'.

As for the direction of their new album, DÉCEMBRE NOIR reveal the following: "Your Sunset | My Sunrise" is the cry for inner peace set to music. A heavy heart full of tears, which threatens to plunge its bearer into the abyss at any moment. Even if this means giving up oneself, in the end only the long-awaited silence counts. It is the escape on the wings of addiction from the battlefield of never-ending depression. The approach of the band from Thuringia, Germany also reaches deep on their fifth full-time album - both lyrically and musically. This is already known from the previous records "The Renaissance Of Hope" (2020), "Autumn Kings" (2018), "Forsaken Earth" (2016) and "A Discouraged Believer" (2014). DÉCEMBRE NOIR act consistently atmospheric, gloomily tuned and open to interpretation. The underlying thoughts, emotions and intentions of the songs of the quintet are not always clearly determinable. And they don't have to be. For the nuances and forebodings set to music have a special significance in the German band's playing. What once started between doom and death metal, has developed over the years and releases to an independent, organic gloomy sound, which achieves its ominous effect space and its captivating fascination quite independently of liking or style questions. On "Your Sunset | My Sunrise", produced by HEAVEN SHALL BURN's Alexander Dietz at his Chemical Burn Studio, DÉCEMBRE NOIR again rely on melancholic as well as melodically addressed pieces that stand completely on their own and therefore captivate because they are presented so heavy, dark and atmospheric.

Still one of the most highly regarded horror films of all time, F.W. Murnau's unauthorised adaptation of Bram Stoker's Dracula, Nosferatu (1922), is an Expressionist masterpiece of the silent era. Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997.
The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

The follow-up album to the hugely successful I Do Not Want What I Haven't Got album, Am I Not Your Girl? was released in September 1992 and features Sinead performing a collection of songs that she had grown up listening to and which had inspired her to become a singer. It was during the promotional campaign for the album when Sinead made a controversial appearance on Saturday Night Live.

Am I Not Your Girl? features Sinead's unmistakable voice accompanied by an orchestra, performing big- band arrangements of tracks such as the single 'Success Has Made A Failure Of Our Home' (a Top 20 hit), 'Don't Cry For Me Argentina', and 'Why Don't You Do Right?'.

Banana Club is without doubt one of the top new labels on the Breakbeat scene today. Led by the young and highly prolific Cadiz artist, FM-3, it was set up in 2020 with a strong identity and powerful, effective dancefloor grooves inspired by English bassline and 2step/garage and a touch of funk.

On this first vinyl release by the label, entitled Funky Beats, FM-3 kicks off his musical discourse with One for Me, a track which showcases the characteristic quality and forcefulness of his groove. This is followed by the album eponymous track Funky Beats, a collaboration with the multiple Spanish and World Scratching Champion, Jose Rodriguez, who dazzles with a number of superb passages in which improvisation and funk come to the fore.

The B-side opens with Panorama, featuring Orak. This fascinating, highly-experimental track offers a fusion of breaks and tech house and an elegant acid line which acts as a common thread and brings cohesion to the whole idea. The record closes, as you would expect, with a collaboration with Bowser, another of the label regular artists, entitled Bubbling.

A classic bassline dancefloor filler, it will take you back to the best tracks of the late nineties and early noughties. The classic black 12", mastered and cut by Simon, a veteran sound engineer at the Exchange Vinyl in London, has achieved a sound which is quite simply brutal.

Als sich The Damned 1989 erstmalig trennten, gründete Leadsänger David Vanian die Phantom Chords. Ihre erste Single, ein Cover der John Leyton-Nummer 'Johnny Remember Me' erschien 1990 und ihre Version von 'Town Without Pity' folgte 1992. Erst 1995 wurde schließlich von Big Beat ein Phantom Chords-Album veröffentlicht, das gekonnt die Genres Rockabilly und Gothic Rock miteinander verschmolz. Zu den Tracks gehörten u.a. mit 'Voodoo Doll', 'Big Town', 'Fever In My Blood', 'Jezebel', 'Chase The Wild Wind' und 'Swamp Thing' eine Mischung aus Covern und Originalmaterial, die aufgrund zu geringer Verkaufserwartung der LP eine reine CD-Veröffentlichung war. Jetzt, fast drei Jahrzehnte später, wird dieser Fehler korrigiert und 'David Vanian And The Phantom Chords' endlich auf Vinyl als 2LP-Set (Black Vinyl) veröffentlicht - natürlich auf Ace Records!

Cogan Has Been Part for Many Years of Parisian Collective House of Underground With Whom He Played Records All Over the French Capital as Well as the Country's Main Cities Clubs and Festivals From North to south.

He Recently Joined the Collective and Label Friendsome as a Resident to Take His Career to Another Level, Releasing His First Solo Wax : Power Source EP.
This Ep Is an Extract of His Live Performance, Which He Has Been Working on for Almost a Year, and Will Be Shown for the First Time at Badaboum on September 9th 2023 as Part of Friendsome's 5th Anniversary Party. We Will All Discover a New Side of Cogan's Work, Being More Known for His High Energy House Music, This Ep Takes Us on a Ride of Acid Techno With 90's Rave Inspirations. a Music That Will Not Let the Dancefloors and Audiences Restful !

Opening Up "Softly" on the Track for the Hackers Will Get You Into the Vibe of the Whole Ep, Before Taking Off on the Banger for the Racers. Track 2 and 3, Being for Gamblers and Farmers, Conclude This Beautiful Ep to Keep It Engraved in Your Mind Until the Next Party! Enjoy the Ride......

Standard LP on 180g clear vinyl, printed inner-sleeve, download card included. 'Interiors' is the fifth studio album by Brooklyn-based minimalist post-punk/synth-pop duo The Vacant Lots. The 8 songs on 'Interiors' synthesise all of the band's past work while pushing forward into the future. It's Jared Artaud and Brian MacFadyen's darkest and most visionary work yet. Ethereal metallic synths and blistering electronics are driven by disco-on-downers dance beats lashed with gutter-rock guitar riffs and icy detached vocals with evocatively concise and lacerating lyrics. Recorded over many sleepless nights and amphetamine-fueled mornings in the project's isolated Brooklyn bunker home studios, the album follows the band's minimal is maximal aesthetic coalescing into dark bedroom anthems for loners and lovers with nods to 70s/80s punk and nightclub music ala Joy Division, Iggy Pop's The Idiot, Depeche Mode, and New Order. On the lead single "Amnesia," Jared Artaud says "It's about dealing with duality and integrating the conflicting feelings within a relationship. It's about feeling dissociative and getting burned by the fire. Then coping with how this inevitably leads to the dissolution of the relationship. This is a mantra for all the songs on the album.

New Shadows peaks into corners where interior and exterior worlds collide, where miniscule revelations can be found in the darkness of ourselves and our community: lost children, unheard prayers, bugs, money, depression, romantic relationships, regret, and Zoom funerals, all become a lens for self-reflection.

The production (by Don Cento and JDD) is modeled after DeCicca's favorite early 80's albums (Lindsey Buckingham's Law & Order, ZZ Top's Afterburner, Robert Palmer's Clues, Lou Reed's New Sensations,) while the songs' architectures and pathos lean more towards Warren Zevon, Townes Van Zandt, and John Prine - all these record- makers and songwriters are embedded in DeCicca's DNA, having seen them, and in some cases met them after gigs, when his brain was still developing between the ages of 13-19 years old.

The virtual collaborators are the musicians whose kept him company while isolated in his rural town, Bulverde, TX: Brian Harnetty's Many Hands, Rosali's No Medium, Irreversible Entanglements' Who Sent You?, James Brandon Lewis's Jessup Wagon, Jeff Parker's JP's Myspace Beats and Suite for Max Brown, and the Los Lobos discography.

New Shadows isn't so much about DeCicca's new discoveries, as it is the penumbrous reminder of what's always been there.

* 6 melodic instrumental tracks presented in the traditional extended “discomix” showcase dub style, that lean heavily towards the sounds of late 70’s / early 80’s.
* The melodica carries echoes of Augustus Pablo, while the acoustic guitar give the recordings a lighter, more atmospheric touch - reminiscent of Fazal Prendergast - before the dub mixes come in and cause havoc in a King Tubby’s/Scientist style.
* Guiding Shield comprises of producers Liam McGurk from Partial Records and Dougie Wardrop from Conscious Sounds who both share instrument credits and production duties.

Emitting a soulful, nu-jazz sound that builds into an uplifting chorus refrain, "On My Way Up" is sonically inspired by the likes of Joy Crookes, Roy Hargrove and Leanne La Havas.

Hailing from Bristol, Cut Capers bring an elevating message and a big sound. The 4 piece horn-section blends with the lead vocal to create a textured juxtaposition rich in depth and layers. With infectious ear- worm melodies and warm vocal energy, Cut Capers deliver a feel-good summer hook that takes you from themes of reflection to new discoveries. With over 13 million streams across major streaming platforms, Cut Capers returned with their first release since their 2019 critically acclaimed album, Metropolis. A passionate and dedicated fanbase has
waited patiently, and the wait is over!

First 7'' release from Dressel Amorosi, the duo of Federico Amorosi (bass) and Valerio Lombardozzi (keys, synth & programming). Halfway between cosmic-funk and Italo-disco, the two tracks on this release are infused with the fusion- and electronic-oriented spirit of late '70s and early '80s Italian soundtracks and library music.

"Synthporn", on side A, is a midtempo instrumental with a voluptuous electronic feel, a mixture of glamour and retrofuturism driven by Amorosi's pulsating bass and Lombardozzi's elegant oscillators.

"Cargo", on the flip side, brings infectious '80s dance vibes to the table with a warm slice of synth-pop that can fit any scenario and filmic mood, from action to comedy.

"I worked on this album over 3 years while juggling a lot of life transitions" says Adrian. "It was an intense period of time, but I found meaning and purpose in the music".

A balance of isolation and collaboration mark the new Adrian's new album with delightful tension- the synth infused, moody tracks express an untethered longing while upbeat numbers "Where To Begin" and "Me and You" transform anxiety into courage and a sense of grounded acceptance. A sparkle of pop influences - think Rex Orange County and Vampire Weekend - combine with Adrian's vulnerability on "After This" to speak to the disorienting personal growth that comes with major upheaval. "After This" sees Adrian moving through challenging and unexpected scenarios to discover hope and belonging.

It stands as a beacon of hope for those among us that have temporarily lost our footing.

When The One ''O'' Ones originally released Radio Cosmo Disco back in 1977 it was confined to 7'', which is no place for such majestic cosmic groove exploration. Now Best Record are continuing their quest to repress every hidden gem of Italian dance music and beyond, and they're doing ''Radio Cosmo 101'' the right way. The full ''Disco Version'' of the track gets to stretch out on a full 12'' side, and does so in a dreamy haze of feel good funk. You can still hear the radio edit on the flip, and the original instrumental jam is included for those who want to drift away on those sumptuous tones of the backing track.

2023 Repress

Best Record lights up a surefire classic from the annals of Italian dance music, made courtesy of Italo-Disco heavyweights Klein & MBO, who were not a company looking to get rich, but just 2 individuals: Tony Carrasco (USA), Mario Boncaldo (Italy), in one word... LEGENDARIES! with something burning inside to share. Italy certainly had a huge influence on the nascent Chicago house scene which embraced the best jams of Italo-Disco and created a movement of those simple yet complex sounds like those of "The MBO Theme", beautiful song, smooth and sweet, to give you time to think about some amazing dance moves and bring back very beautiful memories. The song was originally a hit created by the likes of Ron Hardy thanks to his punchy synth bass and captivating European vocals. So this was the first house song ever made and it's from the '80s, loved from the beginning by Derrick L. Carter, one of the pioneers of House Electronica in Chicago and Farley "Jackmaster" Funk, who broadcast on WBMX-FM of Chicago as a member of the DJ team Hot Mix 5. Pure Italo-Disco! Simple analog drum machine (sounds like a TR-606) and analog synthesizer, which in the case of Klein & MBO, is most likely a Sequential Circuits Pro-one. Italo's first purely minimal songs from the early 80s. This sought-after dancefloor gem has been given a faithful remastering touch, as is the Best Record method, which also brought out a previously unreleased edit of the track called "Italian Version", which extends the club qualities of the jam to the maximum impact of the party.

2023 Repress

A fully remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like David Mancuso, Larry Levan and Ron Hardy. This special edition from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries: including the astounding Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

Rob Mello really needs no introduction, but you're getting one anyway.

Rob has been instrumental in putting UK House music on the map since the early 90's. Numerous legendary projects and collaborations, including the enormous Disco Elements series with Zaki Dee, Reel Houze & the exceptional, way-ahead-of-their-time psychedelic Disco / House jams via Sensory Productions, not forgetting his later, superb work for Classic.

Oh and did we forget Black Science Orchestra ?
Yeah, he was there too.

We helped out with some of Rob's early noughties DISCO45 releases (still sound absolutely amazing)
As well as the slo-mo sleaze (and a secret weapon) of Beulah Heights.

So what do we have here ?

Rob revives his No Ears moniker for a duo of perfectly crafted dancefloor delights.
Pieced together with diligence and more than a little trademark Mello funk, this is up there with his best work.

House hero, master craftsman and absolute gentleman.
Get on it !

Keane’s first official compilation album, The Best of Keane, pressed to 180g vinyl for the first time. Features their biggest tracks ‘Somewhere Only We Know’, ‘Everybody’s Changing’ & ‘This Is The Last Time’ as well as two new songs written during their 2012 Strangeland era, ‘Higher Than The Sun’ and ‘Won’t Be Broken’

Freestyle Records proudly present a reissue of Gloria Weems' ace 1983 long-player "Lovelight" - previously only available on a rare South African pressing, and featuring the single "Wanna Dance With You" (licensed for a 12" on storied NYC label Prelude in the same year).

The record was written and produced by Jim Duncombe and Chris Palmer - owner of London's legendary Groove Records and also the man behind UK funk/disco label Groove Production (Surface Noise, Linda Taylor, Caché etc). Chris & Jim had met earlier in the year at the Midem music conference in Cannes, and started writing together shortly after. The initial recording sessions were completed at Duncombe's Powerplay Recording Studios in Switzerland, with American vocalist Gloria Weems (then on a club tour of Switzerland) brought in on vocal duties.

Palmer then added additional recordings and mixed the record down at Groove Production's London base. Criminally it was only ever picked up for release in super limited numbers through the South African label CCP Records - though Chris, through an ongoing licensing relationship via his Groove Production label, managed to license "Wanna Dance With You" and it's dubbed-out b-side "Wanna Version" to the legendary NYC label Prelude. Nevertheless the Lovelight LP represents a lost classic and a rare example of a transatlantic disco-boogie project in the era's golden period, in it's linking up of UK, European and American elements.

In our little history, the number 7, besides a kind of esoteric fascination, has marked important milestones in our evolutionary journey. This is why Raw Culture has decided to pay homage in grand style to its seventh year as an independent sound guarantor. To do so, it weaves a co-production with Oderso Rubini, historical memory of the Italian New Wave and head of Italian Records in the 80s. Out of this synergy comes our 24th release, Ping Pong, a dancefloor of dissonant bounces, where free-form suggestions, electronics and rhythmic improvisation find synthesis in a high-intensity competitive match. Starting from the sampling of Korean ping pong matches and the voices of the speakers, Renzini and Passini build a framework where the sound or voice of the electronically harmonised hoover amalgamates with powerful and syncopated drumming, a sound experiment poised between improvisational heavy jazz and Korean-style electronics.

The record is ideally divided into two converging visions highlighting the duplicity of the game, side A or Master Ping collects the first improvisations made by the duo in 2018 leaving almost unchanged the improvisational spirit close to a kind of degenerate free jazz. Side B or Master Pong made later explores more musical forms, with influences of the krautrock and electronic disco matrix, and sees the collaboration with other musicians from Bologna’s historic rock scene such as Gianluca Patini (Surprize, Slava Trudu, Volkwerk Folletto) on guitars, Giorgio Lavagna on vocals (Gaznevada, Stupid Set) and Enrico Serotti on electronic samples (Confusional Quartet, Stupid Set).

„The 90’s are back!“ – 30 Jahre später ist das beliebte Jahrzehnt musikalisch wieder voll im Trend! Auf der „FETENHITS - The Real 90’s“ sind die Originale der größten Party-Hymnen der Dekade vereint.

Ob die groovigen Sounds von „No Diggity“, der absolute Ohrwurm „Wannabe“ oder die Kult-Nummer „Mambo No. 5“ - Der bunte Mix der besten Party-Songs und Klassiker der 90‘s ist voller „Good Vibrations“!

Mit dabei sind u.a. U2, Britney Spears, Salt-N-Pepa, 20 Fingers & Gillette, Freddie Mercury, La Bouche, DJ Bobo, TLC, Backstreet Boys und viele mehr.

„We Bring It All Back“ mit den größten Party-Hits der 90er! Erhältlich als 4LP, 4CD und eAlbum ab dem 29. September 2023!

Wewantsounds is delighted to release 'Sharayet el Disco' a selection of
Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco
Arabesquo from his vast collection of cassettes and officially released on
vinyl for the first time
Remastered for vinyl and including colour insert with liner notes by Moataz Rageb
(Disco Arabesquo). Most tracks have never been released on any other format
and are making their vinyl debut with this set. A journey through the funky sound
of 80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes")
features Simone, Ammar El Sherei and more obscure names from Cairo's
cassette culture.
The audio has been remastered for vinyl by David Hachour/Colorsound Studio in
Paris and the LP features artwork by young Egyptian graphic designer Heba Tarek
and a 2-page insert featuring artwork of the original cassettes plus insightful liner
notes by Moataz Rageb.
The set is a unique insight into the diversity of the Egyptian Disco sound, from the
pulsating Disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie
of Simone's "Merci," via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn
the cassette to the other side"), produced by legendary Egyptian musician Ammar
El Sherei.

Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago.

Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles.

On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato.

Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

Some info on the background for the upcoming album, "Police Deranged For Orchestra"."Copeland explains that the “derangement” of The Police’s music “began as the score for a movie I made out of Super8 footage of the band that I had shot during our rise to glory. Film puts capricious demands on music, so I had to carve up the songs to serve the scenes in the movie, and once the scalpel was out, a whole new frenzy of inspiration from Police music began.” He shares that “delving into the multi-tracks of our original recordings and live performances revealed lost guitar solos, bass lines, and vocal improvisations that were just too cool to leave in obscurity... this discovery is what brings us to this performance: Sting’s songs, Andy’s inventions, and my impunity; all on the page for a wild ride with orchestra and unique musicians from around the world to adapt some of the most loved The Police hits for old and new audiences alike.

Presenting the third volume of forward-thinking electronics and peerless Jungle / D&B expressionism from iconoclastic Bristol producer and DJ, Krust. An artist who has always been pushing the sonic envelope while keeping dancefloors fully locked.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 3 serves us a plethora of unmissable highlights from Krust's enviable back catalogue. From the raw jump-up chaos of 'Rukus', the early rolling business of 'The Resister' to the epic genre defying voyage that is 'Soul In Motion', no stone is left unturned on what is - once again - an essential purchase for any serious lover of electronic music.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

Leonard Grandsons 'The Sands Of Zanzibar' ist ein klassischer, sehr seltener Floater, der schwer fassbar geblieben ist, obwohl sein Sound ihn zu einer äußerst beliebten Variante für Soulies, Disco- & Rare-Groove-Fans machen kann. Der Verleger Steve Trebbin geht davon aus, dass der Tune 1977 in einem Studio in Hollywood nahe des Capitol Records-Gebäudes aufgenommen wurde.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his
first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Die Heavenly Remixes-Reihe präsentiert weiterhin die besten Remixe, Versionen, Meditationen, Re-Rubs und Dubs von Künstlern aus der ganzen Welt, die auf der Liste des aufregendsten Plattenlabels des Landes stehen. In den meisten Fällen handelt es sich bei den Alben um die erste physische Veröffentlichung eines Remixes, die sie von den Streaming-Playlisten in ihr rechtmäßiges, spirituelles Zuhause auf superschwerem Vinyl (oder glänzender, supergepackter Compact Disc) befördert.

Heavenly Remixes Volume 7 führt nach Belfast, wo David Holmes - ein Produzent, der 1994 zum ersten Mal auf Heavenly auftauchte und den Acid von Saint Etiennes Like A Motorway aufpeppte - als Solokünstler und als ein Drittel von Unloved auftritt, die von Horse Meat Disco direkt in das Herz eines Vauxhall-Schwitzkastens befördert werden.

Summit Fever is a pair of industry veterans who opt to stay out of the spotlight and prefer to let the music speak for itself. Here they emerge from the shadows with a four-tracker entitled ‘Something Forever’ that includes a mesmerizing remix by Larse (Defected, Glitterbox, DFA, Eskimo). Prepare to be taken on an exhilarating journey back in time as they showcase their love for classic ‘90s house that is set to captivate the hearts and ears of house music enthusiasts and reignite the flame of nostalgia.

DJ support: Wolfram, Jimpster, Marcel Vogel, Graeme Park, Souldynamic, Hifi Sean, Androosh, Johannes Albert, Willie Graff, Dave Jarvis, Pastaboys, DJ Harri, Lisa Loud, Jerry Bouthier, Kiko Navarro, Kelvin Andrews, Neil, Diablo, Lex Athens, Rocksteady Disco, Flash Atkins, FSQ, Mr Shiver, Ravanelli Disco Club, Ed Maho

Indonesian trio Grrrl Gang builds on their considerable worldwide buzz with Spunky!, their full-length debut album. Released on 22 September 2023 by Green Island Music in partnership with exclusive licensees Kill Rock Stars (United States), Trapped Animal Records (United Kingdom) and Big Romantic Records (Japan and Taiwan), the album is preceded by its title track and first single dropped on May 30, featured from the same title of the album, 'Spunky!' Spunky! arrives following some major life changes for Angeeta Sentana (vocals, guitar), Akbar Rumandung (bass, vocals), and Edo Alventa (guitar, vocals), including a switch in locale from Yogyakarta, the city where they formed the band while still in college. “This is Grrrl Gang’s first release after we graduated and got day jobs that made us have to move to Jakarta, which is undeniably 180 degrees compared to Jogja,” says Rumandung. “But moving to Jakarta enabled us to work with Lafa on Spunky! from start to finish.” The song itself essentially describes Sentana's experience during a manic episode. “I feel like I’m on top of the world, untouchable. I do things without thinking, always chasing after that feeling of instant gratification. I feel extra confident in myself to a point of grandiose thinking and that I could do anything,” Sentana explains. That would be Lafa Pratomo, the in-demand producer brought in to help shape the ten tracks that make up Spunky! With a resume that includes the likes of the chanteuse Danilla and legendary singer-songwriter Iwan Fals, Pratomo might not seem the obvious choice to take the Grrrl Gang producer’s chair. But according to Rumandung, “In terms of production, this was something new for us by working with someone outside of Grrrl Gang’s comfort zone.” Indeed, Pratomo considerably beefs up Grrrl Gang’s sound particularly Alventa’s guitar tones, Rumandung’s rumbling bass, and touring drummer Muhammad Faiz Abdurrahman’s muscular beats while preserving the band’s signature raucous energy, catchy melodies, and Sentana’s attitude-filled, equal-parts-honey-and-vinegar vocals. The music video for Spunky! premieres on the Grrrl Gang YouTube channel on the same day as the release of the song. The video, directed by Bathroom Girls, is part of a continuous movie, with Spunky! being the second chapter. It tells the story of an introverted girl who goes to a house party to validate herself among her peers. Despite facing challenges to her self-esteem, she manages to overcome her discomfort to survive the night. During the party, she watches Grrrl Gang perform Spunky! and is mesmerized by the confident performance of Angee, the lead singer. The girl imagines herself as Angee, a confident and cool person that she will never be. Hailing from the cultural city of Yogyakarta, Indonesia, Grrrl Gang is a rising force in the independent music scene with their infectious melodies, anthemic songs, and electrifying live performances. The power trio, composed of Angee Sentana on guitar and vocals, Akbar Rumandung on bass, and Edo Alventa on guitar, has been making waves in the Southeast Asian music scene since their formation in 2016. Grrrl Gang's music is a celebration of their collective roots and a testament to the power of pop music to connect people across cultures and borders. Their lyrics touch on themes such as feminism, mental health, and relationships with a raw honesty that speaks to a generation of young listeners. With their infectious energy, socially conscious lyrics, and unique sound, Grrrl Gang is poised to take the global music scene by storm and become a voice for a new generation

The Mapendo album of the Mighty Cavaliers, up to today, has been shrouded in mystery. If you look at the original cover of this very rare Kenyan funk-infused album all you will find are the names of the engineer and the producer, as EMI Kenya omitted the names of the musicians and the songwriters. Digging deeper a rather sinister story of deceit develops whereby Mapendo becomes symbolic for all what was wrong about the Kenyan record industry in the 1970s, and the music industry in Africa as a whole. As this maltreatment of artists proved endemic throughout the continent, although little talked about.

One of the three surviving members of the Mighty Cavaliers, bass player Bonnie Wanda - who started his career in 1971 with Gloria Africana - vividly remembers participating in the recording of the two albums the band made in 1976 and 1977 - Fisherman and Mapendo - and how they, especially on the last album, got short-changed by shrewd record label executives. In the 1960s it was mostly Indian and European record bosses that called the shots and usually gave musicians the chance of a one-off payment for their session time and recorded songs or wait for - hopefully - a generous royalty check. In most cases records didn't sell more than a thousand copies with an occasional hit selling in the tens of thousands, so musicians were reluctant to register themselves with the Music Copyright Society of Kenya. Although without doing so one couldn't receive royalties.

'For two years the Mighty Cavaliers performed five nights a week at the Starlight Club for five hour sets.

The re-release of Mapendo, the first of the German Want Some Records label, is another exciting puzzle piece in the tapestry of groovy Kenyan music. It proves that there are still great gems out there to be re-discovered for audiences worldwide.

Text written by Michiel van Oosterhout

This Album is dedicated to the musicians
Bonnie Wanda, Rashid Salim, Vuli Yeni, Juma Waweru Njuguna and Athmani 'guitar boy'."

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

'New World Artifacts' is the debut album from Rouen, France-based group Unschooling, arriving following their 2021 'Random Acts of Total Control' EP and 2019's 'Defensive Designs' tape. Out October 6th via Bad Vibrations, it's a collection of lo-fi post-punk clocking in at 30 minutes, underscored with subtle pop melodies and structures but never far away from bouts of chaotic no-wave dissonance. Here, Unschooling claim loud and clear their desire to return to a sound which is less calibrated, less obvious. As they themselves write, "New World Artifacts is an ode to the unexpected, a tribute to many art rock bands who are always where you least expect them." Already heralded as one of the most exciting up-and-comers in the new school of post-punk revivalists, having spent the last couple of years playing to busy crowds and festival fields across the continent, 'New World Artifacts' might just mark them out as the best in class. The Unschooling quintet, as referred to on the album's collage artwork, is made up of Vincent Fevrier (Vocals/Guitar), Damien Tebbal (Bass), Paul Morvant (Guitar), Marc Lebreuilly (Guitar/Synth) and Thomas Fromager (Drums). Although their music might revel in discord, it is a calculated one. The musicianship is complex and meticulous, hardened by their time spent together playing on the road. For 'New World Artifacts', additional musicians were also brought in to expand the sound in new ways, including saxophonists Levi Gillis (The Dip, Beat Connection) and Emeline Morisset (Les Agamemnonz), and Kyleen King (Stephen Malkmus & The Jicks, My Morning Jacket) on strings. Pressing Info: 180g blue vinyl, limited to 300 hand-numbered copies ww, download card included.

Owners Club call themselves a "pub rock four piece" - but they are so much more than that. There's a through line in their taut, visceral guitar sound going from British greats like Roxy Music and Marc Bolan, through The Buzzcocks and The Jam before taking a detour off to NYC and nodding towards The Strokes and The Walkmen. The Dorking-based four piece are a blistering live act, with songs that range from singing about the long discontinued Double Diamond beer to vampires, the occult and an England that feels like a distant memory.

This EP will be the band's debut release on vinyl. Recorded at Small Pond Studios in Brighton in April this year, and produced and mixed by Matt Gleeson of WELLY fame, it presents three songs that brilliantly demonstrate what a ferocious, tightly-wound sound this Dorking four-piece can produce.

The lead single will be Double Diamond - a song that came about after a chance purchase of a Double Diamond-branded ashtray from a car boot sale by Dorking train station. The song is a romantic and messy vision of the life the ashtray’s lived, the pub it came from, the punters who left their fag ends in it and the messy nights and bar fights it’s witnessed. With sprawling synths, punchy guitar lines and tongue-in-cheek lyrics, the song is an anti-advertisement for a drink which no longer exists, as well as a look through rose-tinted beer googles at what Britain's night life - for better or (almost certainly) for worse - was once like. As the advert used to state: you know where you are with Double Diamond. It works wonders.

A lavish four chapter chronicle that imagines an alternative evolution of mankind through sound, VIS (Latin for energy or force) is the result of a lengthy process of self-discovery, collaboration and research for Italian-German composer David August. The son of a classical pianist, August slipped from the academic music world into an early career as a dance music producer and DJ before he felt his artistic outlook shifting considerably. He established the adventurous 99CHANTS label in 2018, and has since used it as an output for his most progressive notions, collaborating most recently with jazz-noise vocalist Cansu Tanrikulu and Carnatic singer Sushma Soma on last year"s acclaimed "Imaginary Landscapes" compilation. VIS then is a chance for August to reconcile his personal narrative, leveling it with concepts that touch on history, transformation and metaphysics. He wrote the album"s 13 pieces to play like a linear storyline, tracking the development of culture from its illusory beginnings in Plato"s cave into the wider world and observing its progression and adaptation.

August represents these themes with levitational orchestral drones, choirs and bells that slowly bend to long-forgotten ancestral rhythms, inevitably colliding with the digitized chaos of the information age. Motion guides everything, whether it"s shadows on a wall projected by dancing flames, or dramatic, overlayed rhythms that vibrate the air and excite the feet. VIS is a dynamic attempt to show the movement of time on a macro scale, looking backwards in order to move forwards. It charts mankind"s journey from its cosmic beginnings through the awe-inspiring world of flora and fauna, grounding the experience in rhythmic expression and dance before we"re returned to the stars in transcended form. Crucially, it"s a hopeful articulation of ideas and concepts that continue to echo throughout history, inviting us to imagine greater and cherish the teeming landscape that surrounds us.

Back to Bach: after the huge success of Johann Sebastian Bach (2018), Víkingur Ólafsson has now recorded the composer’s monumental Goldberg Variations, available as a 2-LP gatefold set (pressed on 180g black vinyl). The accompanying booklet includes an engrossing and in depth essay in which the pianist discusses the work and its history. He also reflects on the performance decisions he had to make in the studio when it came to creating a definitive version of a work he’d dreamt of recording for 25 years. “At least to me, the Goldberg Variations’ genius lies not in the general, but the specific,” says Ólafsson. “As each variation unfolds, one must be wholly gripped by its individual drama and affect, drawn into its own marvellous little microcosm and filled with the joy of discovering it.” The album comes out on Deutsche Grammophon on 6 October 2023.