Buscar:80s mix

Stix Records is a sub-division of Favorite Recordings specialized in the exercise of producing covers with a Reggae twist. Acclaimed in 2013 with a first official single by Taggy Matcher Birdy & Nixon (STIX033), quickly followed by the first volume of Disco Reggae (STIX035) compilation, Stix is back in 2014 with a scorching Disco Reggae Vol.2.

Following the success of its first volume, the Disco Reggae series also expands with this 9 tracks compilation, composed with 8 new and exclusive versions by artists such as Taggy Matcher, 7 Samuraï, Mato, or John Milk, and the classic cover of Tainted Love' by Grandmagneto. But this time, if they still explore famous hits like Watermelon Man' by Herbie Hancock or Happy' by Pharrell Williams, they also dug within the home labels' catalog,
taking over some of the finest titles by Mr Day, Lee McDonald, Lucas Arruda or The Joubert Singers.

Again this time, their swaying renditions seem straight out of the smoky studios from Kingston or Montego Bay, while also remembering the 80s Pop-Reggae sound of artists like Grace Jones or the less famous Earons.
Everything is mastered and cut at Carvery Records (UK), known for their expertise in Caribbean and Disco music. The vinyl LP comes in a deluxe version, housed in an old-school tip-on jacket.

"This release is a 12"" and it's individually 500 hand-numbered limited edition. The first 100 copies are pressed on CLEAR TRANSPARENT vinyls (AR013).
It contains 2 previously unreleased tracks from TONY ESPOSITO's Viaggio Tribale CD (2004): Dove c'e luce and Veronica song + A SPECIAL BALEARIC REMIX of Dove c'e luce from LucaEffeSunset + 3 previously unreleased tracks from the Lucan (Basilicata) musician Antonio Nicola Bruno CD (2004): Storia della terra mia and Danza e ridanza. In addition to the usual Archeo insert of credits and photos of the original album, it features also of a second insert concerning a beautiful photographic journey of 2004 by Manu-Archeo, related to this Music. Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only.
All outputs are licensed by the artists and the vintage labels, audio tracks are remastered in their original form, the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

Having recently relocated to the remote redwood forests of Northern California in order to set up a satellite mixing studio for his old stomping ground, Glasgow's Green Door Studio, Sordid Sound System returns to Invisible Inc with 4 cuts of Psychedelic Dungeon Disco.

The EP opens with his most blissed out track to date 'Die Ewige Nacht', an eight and a half minute inverted sun ritual based around shimmering cascades of dubbed up electronic percussion and an overdriven tintinnabulated FM arp.

Hi-NRG meets 80s B-Boy electro on 'Crescent City' with a careering off-road excursion into tripped out mutant carnival cavalcade territory.

Dia De Muertos's offbeat eerie percussion and driving low frequencies are met with spectral buzzing melodic refrains from the furthermost reaches of a decaying Oaxacan cemetery.

The acid drenched ambient lullaby 'You & Me' brings proceedings to a fittingly fucked up close.

Sordid Sound System's last release on Invisible Inc, 2017's 'Fear Eats The Soul', received plays and praise from the likes of Manfredas, Trevor Jackson, Sascha Funke, Optimo's JD Twitch and Thomas Von Party.

"This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu- Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

"This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu- Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

Unsurprisingly, Richard Galling, does indeed hail from Milwaukee, having released disco inspired jams since about 2012. With his stuff getting plays on the likes of Beats In Space, he got his name out early. His latest offering is this single that features two original tracks and some remixes too. '303 features the eponymous bass machine all over this deep, arpeggio-heavy tech-disco jam, 'Organ' swaps the 303 for a classic Robin S-style house organ, and 'Prophet' adds some big room bass. Also included is a Prophet version of 'Clear Water", a real late 80s, Shep Pettibone-style, Latin house joint. Luke Solomon's Body Edit, is absolut Dancefloor HEAT !!!!

Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska. Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.

His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album's 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled 'The Fourth Circle'. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica cover with computer graphics by Lars Erickson and photos by Ken Mayer and includes a postcard with liner notes by Tom Ware.

Sub Rosa presents two rare tracks by Coil, originally commitioned by Sub Rosa in the late 80s / early 90s and now finally released on vinyl!

"Another Brown World" (12:09 min) was written by John Balance and Peter Christopherson, produced and mixed by Coil, and recorded by Danny Hyde at Threshold House, London in the Summer of 1989. The vocals were recorded at the Animist Monastery situated at the Summit of Mount Popa in Pagan, Burma.

"Baby Food" (12:32 min) was written and performed by Coil: Danny Hyde (essentials) Peter Christopherson (fundamentals), and John Balance (vibrant rays of spiritual psychosis). This track is the first to utilize the recording process known as "Sidereal Sound", a continuation and advancement of the deep listening theories as demonstrated on the album Love's Secret Domain (1991). Recorded in a storm in London in the summer of 1993.

These two pieces were commissioned by Sub Rosa for these two specific projects: Myths 4 - Sinople Twilight In Çatal Hüyük (1989) and Chaos In Expansion (1993)

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

Some songs comes along that you seem to know the moment you hear it, even though it's for the first time. In the case of Spark The Universe it had exactly that impact. A mixture of late-60s psychedelic homage, early 80s new wave, white boy soul, plus a good dose of dub, all wrapped around a killer hook and super tight production and a hit was surely made.
The fact there are many deserving records that don't become a hit doesn't mean some are better than others and in fact, the joy in collecting and reissuing is finding amazing songs and bringing them back.
Increasingly heard in the sets of the more discerning DJs, Spark The Universe has become a cult play and with second hand prices now in three figures, a reissue is timely. As the label oft says, no one owns this music other than the writers, musicians and producers and their craft deserves to be appreciated.
Before going on to carve a successful career in 'electronica' project, Euphoria, Toronto's Ken Ramm had shown his considerable writing and playing ability with the 1981 debut LP Dragon and this 1983 follow up, known simply as Ramm.

Coming together through a meeting with a then relatively unknown producer, Daniel Lanois, via a mutual interest in tape loops and dubbing, it was the suggestion to bring in local vocalist Lorraine Segato that Ramm formed.
Recording at Lanois' Grant Avenue Studios, his interest in mixing past and present technology, with multiple digital delay units, harmonizers and other effect processors allowed Ramm and Lanois to explore using the studio as an instrument alongside real musicianship.

Backwards guitars, tremolo bar dives and guitar harmonics are incorporated with the vocals and percussion to perfection. With a 'Dance' and alternative 'Dub', the song's hypnotic and dreamy feel superimposed over beats pin-pointed to the later Euphoria project and with the addition of a latter day 'Discomix', from the labels' own Chuggy, Spark The Universe deserves it's place on contemporary dancefloors.

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.

The House Music Institute is the new label by Pete M.. A recognized face on the Madrid underground scene, Pete M. has been making the city dance for the past two decades mixing House with Future Disco and Techno.

His first EP, LOFT 301 - Fourth World' includes two original tracks plus a remix by Jonny Sender.
Pete M. created two original tracks with a late night vibe using a classic groove and 4/4 rhythms combined with 808 analog sounds and beats.

Pete reached out to Jonny Sender for a remix who's recently released a number of original productions and remixes. Sender, bass player in the legendary band KONK, was part of the early '80s downtown scene in New York City as well as being a long time DJ. Jumping off from the original track, Sender brings some jazzy early '80s flavor while keeping the vibe strongly rooted in the present.

Emotional Rescue and Jamwax come together to present the first of three essential 12's from NY/Jamaican label Capo Disco, all officially licensed and remastered for the first time. The brainchild of reggae vocalist, musician, producer and label owner Glen Adams, the label married disco with his Caribbean roots to perfection. TIP! Born and raised in Jamaica, Adams story is a similar one to the performers of the golden period post-Independence. Initially discovered as a vocalist by Coxsone Dodd, he went on to work with such luminaries as Ken Boothe and Stranger Cole before co-founding The Heptones and working Duke Reid, Bunny Lee and Lloyd Charmers.
As a session organist he worked for The Hippy Boys, The Reggae Boys and later with Lee Perry's The Upsetters. Here he came in to the orbit of The Wailors, touring England with them in the early 70s and with Perry co-wrote Mr Brown. When most of The Upsetters became Marley's rhythm section, Adams stayed with Perry before making the move to Brooklyn in 1975.
There he started Capo Records, running it and it's sub-labels, successfully until the mid-80s. During these later years he ventured in to mixing Reggae with Boogie and Disco rhythms and released just four 12's under Capo Disco as well as recording boogie and hip-hop influenced releases with T Ski Valley and as Glen Adams Affair for SAM and Moonglow Records.
Here then the spotlight is on Adam's nascent disco releases and the series starts with the wonderful, uplifting A Beat For You. Actually appearing on a one off sister-label, Top Secret, this is a beautiful 'Lovers' anthem from Adams over a laidback dub-bass riddim. Backed with a simple instrumental Version, the space and interplay of the keys and guitar over drum and bass is superlative. 'There is a beat in my heart, just for you...just for you.'

Emotional Rescue starts its 5th year by shining a light on one of Europe's best underground 80s' label in Spain's Auxilio De Ciento. Their Terra Incognita Volumes I and II collated an international mix of synth-pop, new wave, world and industrial sounds to a small but appreciative following. Released in 1985 and 1986, the Volumes have become highly regarded and rightly sought after, finding a place in discerning playlists from London to Amsterdam and Dusseldorf to Glasgow. Here, taking a premise of avoiding the songs unearthed on other recent reissues, is a unique album itself. Starting with Denis Mpunga & Paul K's esoteric Criola, a fusion of fourth world ideals and poly-rhythmic funk. The music of Mal, Bene Gesserit and La Caida De La Casa Usher, however, soon highlight that the decade also belonged to dark, minimal synth as to shiny balearic ideals. The inclusion of Hector Zazou with Bony Biyake and their contribution Komba, is a fitting continuation from their cult Noir Et Blanc LP before, things continue with US avant-artist Danny Alias and his humorous Big Brother "response" to Laurie Anderson's Superman O. Image Pour Image loose indie-pop and the inclusion of seminal Beast Of Burden lead again to a Zazou contribution, this time in his collaborative Stranger In A New Light, before the compilation eclectically ends with the dadaesque Lakota and the post punk dub of Instead Of's closer, Angels .

This is a journey into sound. A series of journeys across the globe, in-fact. This time with Don Leisure from Darkhouse Family. Let us tell you a story. Firstly, we first need to answer a question. Who is Shaboo

It began in Africa. Nasser Barwani was the son of Shabudin. At the age of 15, Nasser (Don's Uncle) left Kenya and hitch-hiked his way to London. Nasser entered the movie business, occasionally finding himself in front of the camera, acting in Bollywood films. It was then that Nasser changed his surname to adopt a screen name - Shaboo.

According to Don, "Shaboo was the most colourful character in my family. I have fond memories of him playing tabla at family parties. When I was about 17, I was on a journey with my Uncle. Whilst Shaboo drove me around, he was playing the steering wheel as if it were a tabla. It was then I nervously asked "do you think, one day, I'd be able to make music too...". Shaboo was so furious he nearly crashed the car, slamming his hand hard against the wheel. He screamed "OF COURSE YOU WILL!! IT IS IN YOUR BLOOOOOD!!!"...

A week later, inspired by the creative energy of my Uncle, I acquired some music software, and began an all new journey. A journey through the beats..."

Long family car journeys were a constant in Don Leisure's life growing up. "We'd take frequent trips from Wales to London to visit family in the late 80s / early 90s. There I'd mainline into my cousin's record collections, and make full use of the signal radiance to the M4, searching the airwaves for pirate radio stations. However, I wasn't the only one to make use of this. Every trip, my parents would routinely tune their dial into Sunrise Radio - the only Asian radio station around back then.

The soundtrack of these road trips were somewhat unique. Whilst I tried to learn the lyrics to 90s hip hop songs taped off my cousins, my Mum would constantly interrupt, interspersing my boom bap with bonkers Indian radio ads. And here we have the premise of this album. An attempt to recreate this sonic mix, with sounds pulled in from dusty crates and breaks dug from all over the globe."

25 instrumental Hip Hop tracks, linked together in a truly unique style and fashion, this is much more than a beat tape. This is a journey into sound. For real.

Dedicated to Nasser 'Shaboo' Bharwani.

Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as Sfire on CockTail d'Amore Music and Ultramajic.
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The duo released their 8-track debut album 'Part Flamingo' in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP's: 'Part Flamingo' and 'Nurse Coven'. They're loose, fun pastiches of 80's movie soundtracks with accompanying imagery. For the 'Flamingo Boots' EP we chose 4 songs from the album which the pair extended for maxi 12' throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright '80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.

Since the release of his 2 first albums on Favorite Recordings, Lucas Arruda has quickly established himself as one of the most talented young artist and composer from Brazil. His music is filled with fusion style, mixing influences and elements from his Latin musical background, with his genuine admiration for Jazz, Soul and Funk music.

In spring 2015, it was also not surprising to find Lucas Arruda back with a new LP called SOLAR, receiving great supports and feedbacks from international media and tastemakers. One of the highlight of the album was the song 'Melt the Night', on which Lucas asked legendary producer Leon Ware for his help, reminding his collaborations in the 80s with Marcos Valle, when they perfectly merged together the sophisticated Boogie and AOR touch from California, with the blazing sense of rhythm from Brazil.

Today, Lucas Arruda and Favorite Recordings proudly present a brand new single, announcing the release of Lucas' third efforts later this year. This new opus is pursuing the music direction set with SOLAR, mixing touch of Blue-Eyed-Soul, Pop, Soul and Brazilian styles together, and influenced by the path of legendary Brazilian producer Lincoln Olivetti, who recorded some of the biggest stars of Brazilian music (Marcos Valle, Jorge Ben, Tim Maia...).

In Lucas words: 'These two tracks represent the whole spirit of the new album. In this record I really wanted to honor Robson Jorge & Lincoln Olivetti. They are the main influence on this record. We recorded the basic tracks for the album in the same studio that Lincoln Olivetti did his last works. So, this was very important to capture the true essence of Brazilian Funk/AOR tradition. Hope you guys enjoy it!'

While the story of Jah Wobble, from post-punk bassist to Tube driver to world music explorer is well documented, the fact he founded his own label, Lago Records, at the age of just 23 years old has oft been overlooked. Lago Records was set up by John "Wobble" Wardle soon after his acrimonious departure from college friend John Lydon's Public Image Ltd band at the end of the recording of the Metal Box sessions. Although still young, Wobble had already experienced a music career most would dream of and was experienced enough and singular in his thinking that while now working with both Island and Virgin Records, he did not want to be constrained by the traditional label / artist format and release schedule. With a mindful of music ideas and working with a group of friends and musicians, Lago allowed Wobble to express his wider musical interests that now forms it's own unique document in time. This release takes a collection of songs from the 6 EPs released on the label between 1981 and 1985 and captures some of his best ever music, covering a wide palette including dub, jazz, spoken word and even some pop sensibilities, all held together by his instantly discernable bass rumble. The driving post-punk-dub of Invaders Of The Heart is clear a link to the PiL years, while the psychedelic nature of Long Long Way and Fading offer long, drug-induced meditations. Nocturnal and East take this further with long-form instrumental experiments, before both Voodoo and the now highly sought after Blowout take in (Balearic) pop touches that the mid-80s were beginning to encapsulate. Packaged with DJs in mind as much as for the "Heads", the Lago Years double pack is a revelation to those who thought they knew the Jah Wobble sound and offers a perfect framing of a unique musical journey.