Having released his own music for several years on his self-titled label, Berlin-based DJ/producer Amotik presents AMTK+, a new extension of the imprint focussed on featuring other artists via split-EPs. Leading this new series is an EP from Italian-born producer Deluka and Amotik himself, a four-track offering of stripped-back, hypnotic, driving and meditative techno from two artists at the top of their game.
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Last year the Atlanta artist releaed her debut EP Swan, made with producer Marshall Vore who is known for his work with folk dynamo Phoebe Bridgers. The five song col¬lection found a supportive home with Royal Mountain Re¬cords, and drew remarkable acclaim for a debut EP, earning praise from outlets like NPR, FADER, Nylon, Paste, Under The Radar, Coup De Main and Line of Best Fit among many others.
When I’m Alone is the debut album from Girlpuppy. Across the record, Harvey weaves in several cinematic allusions: a Keanu Reeves look alike pops up in “Teenage Dream,” named for the alternate title of an ‘80s movie he stars in;
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KINGUNDERGROUND TO RELEASE A SET OF 45s, FROM
CAVENDISH MUSIC CATALOGUE. PAYING HOMAGE TO
LIBRARY MUSIC, FURTHERING ITS EXPOSURE TO A NEW
GENERATION OF LISTENERS.
Library Music experienced its heyday in the 60s and 70s, as
thousands of instrumental tracks were produced by musicians and
composers for the purpose of placements in radio, television, and
film.
The second record in the Cavendish Music series is classified as
‘Frantic’ and features 2 compositions by Sam Fonteyn. Frantic
energy is no doubt present in the horns and percussion on the A
side of the 45 “One Way Trip (Warm)” but the high energy gives off a
dancehall vibe, leaving you in a sweat as if you were in the club.
Fonteyn was a key contributor to the Boosey & Hawkes Music
Library. His output held a strong presence amongst other
composers, there’s an “it” factor or a swagger to his productions.
The compositions are timeless and feel hip in any era, especially on
“One Way Trip (Cool)”. Which is appropriately titled because it
doesn’t get much cooler than the feel on this track!
In all there will be 8 individual 45s, licensed from Cavendish Music
Library & released by KingUnderground. Including compositions by
Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.
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High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz
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Max Von Sydow is the alias of Joakim hlund, founder of 90's electro-pop act Teddybears, garage-pop freaks Caesars and kraut space rockers Les Big Byrd among others
Max von Sydow is more of a sporadic experimental solo excursion, and he has previously released a couple of singles on Swedish labels Ingrid and Höga Nord for example. Here on his first release for Chimp Limbs he has taken the help of Gustav Ejstes from Dungen and Amason on flute and piano, as well as jazz prodigy Moussa Fadera on the drums.
The A-side, Fuzzy Ghost, has a driving bass line and an almost Klaus Dinger- like motorik drumbeat as well as hectic flute work and ethereal piano by Ejstes. And the B-side, Acid Sweat is a Moog synthdriven piece which features nice tape- echo flute- work by Ejstes and an
unrelenting funky drumbeat by Fadera.
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British musician, multi-instrumentalist, producer and DJ cktrl returns with the release of his new EP ‘Yield’. Born from a desire to change the narrative around contemporary Black British music, the boundary-pushing musician aims with this project to prioritise the art of bonafide musicianship. A stark departure from cktrl’s previous work, ‘Yield’ is a celestial and palpably more inward body of work that harkens back to the pre-electric age of modal jazz while simultaneously pulling in elements from the disciplines of classical and baroque music. Speaking on the project’s sonic identity, cktrl says: “I want to be able to show that you can make things from scratch again that have that feeling and beauty without having to sample an old record. Even though that’s an art-form within itself, I want to show raw orchestration and instrumentation can be the sole source” The origins of the title came from a period where cktrl was looking to find solace in himself after an introspective period of grief and heartbreak. As an intentionally instrumental project with minimal vocals, cktrl wants prospective listeners to see these new songs as guided meditations where they can wholly insert themselves in it. Eliciting and reaping whatever feelings come to the fore. Speaking on what ‘Yield’ means to him as a concept, cktrl explains: “Some people who I've asked to define the word ‘yield’ have looked at it from a harvest point of view, whereas others have seen it as something to submit to, to render, like you're giving up yourself. I see it as a barometer for how you feel - no matter if you're at your lowest or your highest vibration, you still need to show up for yourself. You still have to be present. It’s about getting the best from yourself no matter where you are in life” The new project is the follow up to last year’s ‘Zero’ which featured collaborations with esteemed contemporaries like the GRAMMY-nominated Mereba and anaiis. Upon the project’s release, it was met with a plethora of critical acclaim from highly regarded publications and platform such as British Vogue, Dazed, CRACK Magazine, Resident Advisor, NOTION, Harper's Bazaar and ES Magazine for its sprawling and experimental scope, spanning avant-garde jazz, classical music, alternative R&B and electronica. cktrl has a tune for every occasion: as content making beats by himself at home in Lewisham as he is amongst this generation’s fashion and cultural vanguards. Music has been a part of his life for as long as he can remember: from clarinet lessons throughout his school life to fond memories from his NTS days. Moulded by a unique blend of his West Indian heritage, years of classical training in both the clarinet and saxophone, cktrl strives to do what hasn’t been done before. His approach to creation is decidedly wide-ranging and broad. In fact, where sonic descriptions might fail to encompass the breadth of cktrl’s scope, three words surface when he unpacks his musical aims: freedom, range and feeling. Elsewhere, throughout his career, cktrl has been recognised and heralded by fashion and film VIPs as he firmly embeds himself within the black cultural renaissance emerging here in Britain. Acquiring a global network of creatives that include the late Virgil Abloh, Bianca Saunders, Tremaine Emory, Saul Nash, Maximilian Davis, Ahluwalia, Stephen Isaac Wilson, Sean Frank, Campbell Addy, Ib Kamara and Jenn Nkiru who secured him a cameo in Beyoncé’s ground-breaking film ‘Black Is King’.
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KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.
There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!
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Tod Dockstader's Aerial series, an electronic/drone masterpiece, is cherished among fans of the artist's work and this second volume is available in an audiophile quality double LP edition.
Tod Dockstader's Aerial series is sourced from his life long passion for shortwave radio. Dockstader collected over 90 hours of recordings, made at night, and comprised of cross signals and fragments plucked from the atmosphere.
Opening with airwave drones, Dockstader gradually allows elements to slowly come and go, summoning an ominous atmosphere of ethereal cloud clouds. Malignant placidity continues, giving the feeling of eavesdropping upon late-night audio activity not unlike discovering number stations while sweeping the dials. These sounds pull you in as their density and rhythms come and go.
Backward voices, deep echoing choruses of conversations flowing under the surface, ocean sounds, pulsing electro-rhythms, all seem to be created via the collaging of many hours of source recordings. A masterwork of collage and juxtaposition by an overlooked pioneer of American electronic music.
Artwork by John Brien (Imprec) is inspired by the propagation of shortwave radio signals throughout the earth's atmosphere.
"This return of Dockstader is something to cherish, not just because his output has been so limited and scarce but because what we do have is so intriguing, persuasive and cliche-free; the music of an inspired explorer who trails in nobody's slipstream." The Wire
"One of the great figures of musique concrete composition." Dusted
The Aerial project
I've written before of my interest in shortwave radio, in the notes to the Quatermass CD. Also, in the notes to the Omniphony CD (which has my first "Aerial" mix, "Past Prelude," in it), I mentioned "The Aerial Etudes," which was my working title for what became the three CDs you have. And, at the end of an interview with Chris Cutler (which can be found in the "Unofficial TD Website"), the piece I mentioned I was starting to work on at the time became Aerial.) When I was very young, people got most of their entertainment from radio. They called it "playing the radio," as if it were a musical instrument. That's what I've tried to do in this piece. About this time, a few people encouraged me to look into using a computer for this work.
I'd never used one, but I saw it would allow me to keep my mixes digital - no more transfer losses. So, at the end of 2001, I got a computer and an editing program for it, and spent what seemed a long time learning it. I began selecting mixes and loading them into the computer in late March, 2002. Out of the 580, I selected 90 "best" mixes - eventually reduced to 59, the ones on the CDs. Finally, in assembling the CDs, I followed David Myers' suggestion to allow each piece to flow into the next - making a continuous journey to the end. Tod Dockstader, 14 september 2003
About Tod Dockstader: Dockstader moved to New York in 1958 and became a self-taught sound engineer and sound effects specialist and apprenticed as a recording engineer at Gotham Recording Studios. It was around this time that he started to use his off-work hours to experiment with mixing and manipulating sounds on magnetic tape (musique concrète). By 1960 he had amassed enough material to assemble his first record Eight Electronic Pieces which was released on the Folkways label in 1961 (this would later be used in the soundtrack of Fellini’s Satyricon). The last of the eight pieces was later re-worked into his first stereo piece. In 1961 he applied to use the facilities at the Columbia-Princeton Electronic Music Center and was denied access by Vladimir Ussachevsky. Ussachevsky’s official reason was the “overstrained” scheduling of the studios, although many suspect that Dockstader’s lack of academic training was a factor in the decision. He continued to create music throughout the first half of the 60s, working principally with tape manipulation effects. His last piece at Gotham was Four Telemetry Tapes in 1965, after which he left to work as an audio-visual designer on the Air Canada Pavillion at Montreal’s Expo ‘67. It was around this time in 1966 that some of Dockstader’s pieces were released on three Owl L.P.s, and his work became known to a larger audience. He achieved modest recognition and radio play alongside the likes of Karlheinz Stockhausen, Edgard Varèse, and John Cage.
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Andreas Koeper is a German contemporary/experimental composer and drummer with a background in Philosophy and Art history. “Niemand Tanzt” was originally released in 1989 and in the past years it has become a sought after obscurity amongst diggers ever since Chee Shimizu put it on the radar after unearthing it throughout inspection rounds in Berlin record stores. Although the A-side might have been the essence of the single at the time, it's the B-side's “Pink Rhythm” that puts this release on the map for DJs, the track's gradient from an empty half tempo to rich 4 on the floor patterns serves any well versed DJ as an on-ramp for new gears to be put into place as the track grows into various ramifications of Andreas' studio production techniques: playful percussive elements, provocative guitar riffs over a solid rhythm section. Freshly remastered by manmade in Berlin.
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Lined up next on Toolroom, we’re set to welcome the return of WEISS to the label 3 years after his last outing. Most known for his certified gold, 2018 smash-hit ‘Feel My Needs’, which received critical acclaim, topping 5 international music charts at #1, and earning DJ Mag’s ‘Best Of British Winner’ in 2018. WEISS himself has locked in an incredible collaboration with legendary Soul act The Jones Girls, using their classic record ‘You Gonna Make Me Love Somebody Else’ to create the club stomping cut that is, ‘I Need Some’.
A prolific DJ and producer, WEISS has released cuts on DIRTYBIRD, Universal, Island Records, D4 D4nce, Glitterbox and Toolroom along with remixing A-list artists including Kylie Minogue, Robyn, Calvin Harris, and Rag n Bone Man to name a few. When it comes to the House Music elite, Weiss is amongst some of the best there is, touring worldwide and sharing stages with Armand Van Helden, Todd Terry, and MK.
Of course, The Jones Girls are an act that needs no introduction, the legendary Philadelphia trio of sisters are the vocalists behind the classic Soul cuts ‘Nights Over Egypt’ and ‘Who Can I Run To’, released on the renowned Philadelphia International label.
Backing singers to both Aretha Franklin and Diana Ross during the 1970’s, The Jones Girls have left their mark on Music History and still influence artists and vocalists alike today.
With a passion for all things Soul, Disco and R&B, WEISS has officially fulfilled a childhood dream working with The Jones Girls to create ‘I Need Some’. This is a Disco House focused cut that pays homage to the original record ‘You Gonna Make Me Love Somebody Else’, whilst reinterpreting the sample and making it club ready for dance floors.
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''Fact & Fiction" The second Tranquil Eyes album delivers poignant & exciting synthwave songs. Drenched in an eternal 80s feel, well crafted & complete.Tranquil Eyes is a Dutch minimal synth band formed in 1982. Lex Grauwen and Paul Oosterbaan had worked together for about 8 years before they formed the band. They decided to turn their back to stage performances and started experimenting with home-taping. Using an array of electronics, they recorded a great amount of songs and made a fine selection on Walks. Their first and only release. Today, after digging into the archives, a lot of restoring, recording & re-mastering, there�s Fact & Fiction. The album is an extension to the Walks album both in genre and in spirit. Comprising a selection of lost tracks, compilation only releases, unreleased songs and even two newly recorded songs, Fact & Fiction gives a great view on the bands musical abilities & influences over the years.
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D.I.T.C. member and acclaimed NYC-based production legend, Buckwild returns with the latest installment of his notable instrumental series, Essential Beats (Vol. 3).
Comprised of 14 new tracks, Buck continues to show and prove why he has remained amongst the game’s most accredited hip-hop producers since the early ‘90s, earning him platinum status with credits alongside the likes of Notorious B.I.G., Black Rob, Jay-Z, O.C., Big L, Fat Joe, Diddy, Big Pun and many, many more.
Essential beats (Vol. 3) is limited to just 300 units worldwide, and is out through Buckwild’s Still Diggin Music imprint in partnership with Fat Beats.
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There was a time when a person would pick up an instrument to compose yet another song for a loved one. A sad figure humming into a microphone, pronouncing the most basic words and forms to convey quantity, quality, fact, statistics and similar sounds describing pain, loss and sorrow. The human brain would perceive the melody sad and perhaps within herself feel a sense of melancholia.
In another parallel world a new composition would then appear. But not one composed on a wooden built instrument, no, sounds made into structures and tables that would assists the listener into providing an additional context and meaning through digital synthesis and quantised harmonies. But who could really tell if these sounds were real? Or where they just sounds impersonating an idea of something?
Rhyme nor reason is as abstract in its shapes and ideas as it is concrete and elegant in its narratives. A carefully crafted wooden cabinet with an over-whelming amount of different drawers and hidden compartments. Each box storing blissful arrangement; a fluorescent stone, a paper note saying something about lunch, some collectible objects, a forgotten token or perhaps an autograph, all so very vibrant and joyful for its possessor.
Deleted files stored on rapidly rotating platters coated with magnetic material. Small, easy to loose SSD memory cards of recorded corrupt files and digital artefacts. Software engineered compositions trying to grasp the shared belief of an upcoming future, vivid and uncertain; birds, waters and long lost recollections. A release unconcerned with the literal depiction of things from the visible world. At least not for now.
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All Eyez on Me is the fourth studio album by 2Pac and the last to be released during his lifetime. Released on 13th February, 1996, by Death Row and Interscope Records, the album features guest appearances from Dr. Dre, Snoop Doggy Dogg, Redman, Method Man, Nate Dogg, Kurupt, Daz Dillinger, E-40, K-Ci & JoJo, and the Outlawz, among others.
The album features productions by Shakur alongside a variety of producers including DJ Quik, Johnny “J”, Dr. Dre, DJ Bobcat, Dat Nigga Daz, DJ Pooh, DeVante Swing, among others.
The album includes the number-one singles “How Do U Want It” (featuring K-Ci and JoJo) and “California Love” (with Dr. Dre, featuring Roger Troutman) and the hip-hop ballad “I Ain’t Mad at Cha”, along with the Snoop Dogg collaboration “2 of Amerikaz Most Wanted” as a promotional single. It featured four singles in all, the most of any of Shakur’s albums. Moreover, All Eyez on Me made history as the first ever double-full-length hip-hop solo studio album released for mass consumption globally.
All Eyez on Me was the second album by 2Pac to chart at number one on both the Top R&B/Hip-Hop Albums charts, selling 566,000 copies in the first week.
Upon release, All Eyez on Me received instant critical acclaim, and it has been ranked by critics as one of the greatest hip hop albums, as well as one of the greatest albums of all time. In 2020 the album was ranked 436th on Rolling Stone‘s updated list of the 500 Greatest Albums of All Time.
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We call it EBM Electro Acid! The ND 005 is Dark and Groovy at the same time!
MAN2.0 is a DJ and producer from London and has graced the decks in Berlin, Edinburgh Manchester and recently at the closing party of London clubbing institution the Cause, playing on the same bill as Optimo, Kink and Ben Sims among others.
Mark (as he’s known to his friends), has also released on Nein, Wonder Stories, Hypnotic Connection amongst others and has remixed for numerous artists such as Zakmina, Ali X (of Azari & III fame) and DDM boss Black Light Smoke, he has also picked up plaudits over the years from artists like Rex the Dog, DJ Sundae and has had his music described as ‘Dark but Ultimately redemptive by the late great Andrew Weatherall.’
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Selected Productions is a collection of tracks produced by Tom Chasteen in the late 90s and released on the Exist Dance label.
Exist Dance started in Los Angeles in 1991 and was among the first labels to emerge from the LA Rave scene of the time, although musically the label pursued its own path , sometime in tune with rhythmic warehouse madness, sometimes heading elsewhere.
These tracks emerge from later in the Exist Dance story, when Tom Chasteen was living in Prescott, AZ, performing at Phoenix and Tucson raves and clubs and steadily releasing small pressings of 12” singles and EPs.
Ghost Story is a high desert tale, emerging from the hours long Roland 303 and Space Echo based live performances Tom was doing at the time, condensed into a dramatic vinyl side and featuring guest guitar work from Clive Wright.
Champion Sound is a remix of a 1991 Exist Dance release, the original being perhaps the first “Breakbeat” track from the West Coast. This version expands the concept of remix to its limits, keeping only some vocals from the original and setting them free in a new psychedelic landscape.
The Accident Of Birth takes the breakbeat style to a darker galaxy.
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Serious Trouble label presents a mind bending record that brings together forward thinking jams from the early 80’s into present time with reworks of Tiffy L’Amours’ „Follow Me“ and „Film Musik“ from Die Gesunden. Both received an editorial treatment by Benedikt Frey, Menqui & Philipp Otterbach. With kind allowance by the original composers this 12“ marks the editorial spirit of Serious Trouble and waves tribute to moist cellar jams.
The A-Side „Follow Me“ Rework by Frey & Menqui is a wild extension of the original which gently adds a weird drummy cowbell intro before it introduces the chanting eccentric original. That got enhanced with an extra electronic bass recording and relooped cut & phrases emphasing you to hit the bell just one more time.
On the flip side „Film Musik“ Frey & Otterbach dived into the artists main motive and layerd it with a lyra, sh101 and external drums in an 8 hour session. It respectfully keeps the spirit of the playful original. In comparison to that though they managed to built a seamless endless „escheresque" staircase to mad mountain. An Immortal Acid exploration.
12“ 180 gr. heavy Vinyl, Limited to 300 copies. Artwork by Cid Hohner.
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Magnificent Wolof drum music, performed by an extended griot family over seven consecutive days, in the mystical setting of Lac Rose, outside Dakar.
Doudou Ndiaye Rose — who died in 2015 — is a key drummer in the musical history of the world. He developed a system of five hundred original drumming patterns, ancient and new. Amongst the modern rhythms here is Bench Mi — ‘under the Baobab tree,’ a spot where problems get solved. Also Hibar Yi — ‘passing on information’ — the theme-tune of Senegalese TV national news for decades — and Les Rosettes, the signature rhythm of Senegal’s first ever all-female percussion group, convened by Doudou, and named after his grandmother.
These original compositions sit alongside important traditional rhythms, familiar to every Sabar player, such as Farwu Jar (a courtship game sometimes resulting in a wedding), Ceebu Jin (also the name of the national dish of fish and rice), and Gumbé, often played after a successful harvest.
Recorded in joyful single takes, with no overdubs, mastered by Rashad Becker, the music is deep and thrilling, polyrhythmic to the bone, with a complex, pointillistic intensity at times evoking Jeff Mills in full flight.
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Amsterdam via Wales DJ & producer Maroki unveils a darker, more eccentric side to his productions, this time opting for four bass heavy, left-leaning cuts of idiosyncratic dance-floor experimentation on LTFIRE. Nestled amongst the trees along the river lJ, Maroki is surrounded by influence, from the city's bustling streets to the tranquility of nature's boundless beauty; Maroki's work walks the tight-tope between these two spaces, a place where machines and human complexity meet.
'Pots & Pans & Handstands' opens up the A-Side with a highoctane journey, meshing breaks and shape-shifting bass with hoovering pads that sound like landing UFOs. 'Hasnoot'
continues this menacing theme, providing an immersive experience that feels compulsive and raw. Yet, there's elements of fun and flashes of colour, adding to the almost audio visual vibe Maroki can create.
The B side opens with 'Boiler' a nocturnal groove that sways ominously in the wind; If the UFOs were landing on the records A side, this is the soundtrack to their dystopian future. Maroki completes his metamorphosis with 'San Andras', visuals of large spaces with high concrete ceilings come to mind, where the track's mechanics can thrive, reverberating beautifully amongst the looming shadows of dancers.
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The official soundtrack of the 2021 'Rumba Rules, New genealogies' documentary movie by Congolese artist Sammy Baloji and Quebec filmmaker David Nadeau-Bernatchez. A deep dive into Kinshasa’s vibrant Rumba scene, including remastered classics by Brigade Sarbati, Werrason, Papa Wemba, Franco & le Tout Puissant O.K. Jazz
Rumba Rules, New genealogies is about contemporary rumba in Kinshasa, but this music has deep historical roots nevertheless. Born in the interstices of the colonial world and thriving during the three decades of the Mobutu era in Zaïre, Congolese rumba has been iconic and popular all over Africa for decades. The roots of Rumba are even deeper, and the many paths it evokes trigger the imagination. The story goes that this music came with the migration of the ‘Kumba’ drum and dance in previous centuries, African slaves having carried it all around the Americas and giving birth to Cuban ’Rumba’, Colombian ‘Kumbia’ and many others. With its varied rhythms, guitars and horns, through LPs and radio stations, Rumba came back to (re)conquer Africa throughout the 20th century, paving the way for new practices. One could say this music is a sort of palimpsest, a memory in itself of Atlantic migrations and histories.
Rumba is nowadays discussed all around the world, igniting many debates among the Congolese diaspora. Being the constant talk of the town sometimes overloads public debate, and many people get tired of this broken record. Thus, over the last decade, enterprising producers have worked hard to promote Kinshasa’s musical diversity and tried to emulate new sounds to reach worldwide attention. But Kin’ locals and urban dwellers will not be fooled : new shoots cannot hide the forest. Despite some difficulties to innovate, despite the pastoralist sermons and the diaspora fighters pushing for concert cancelations, rumba is still at the core of the Congo today. Talented artists such as Fally Ipupa, Ferré Gola, Brigade Sarbati and others are leading the fifth generation, and the religious world has also proven to be a nurturing environment for the cultural and economic dynamism of this music.
Focusing on the music of Brigade Sarbati and his Orchestra, this record offers a deep dive into Kinshasa’s rumba scene. Halfway between professional studios and Zoom H4 field recordings, the rumba herein is about today’s youth: dense, full of energy and breakdowns, insights and name-dropping. The cavacha rhythm, the solo and bass guitar’s playing style, the singing style and numerous dedications all resonate with the history of Rumba. In an era where digital sound is taking over, it is interesting to highlight the instrumental and live performance compositions of this music. Digital technology is indeed used during the recording and mixing phases, but Congolese rumba still relies strongly on instrumental playing. There is all that but also, many other things to hear on this record… It’s time to let it be. A big thanks to Étienne Tron for making it possible: it is on his initiative and through his patience that this album is in your hands today. (David Nadeau-Bernatchez, december 2021)
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PicCover[27,31 €]
Mr Bongo are delighted to present an officially licensed re-issue of this underground Japanese rock rarity 'Uganda (Dawn of Rock)' by Akira Ishikawa & Count Buffaloes. This album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.
The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress.
A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches.
For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka.
The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.
We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.
Available in 2 formats: Original LP in Box version & Tip-on Sleeve with OBI version.
• Highly sought-after underground Japanese rock rarity, originally released in 1972.
• Feat. Hideaki Chihara, Kimio Mizutani, Larry Sunaga and Takeru Muraoka.
• Available as the original LP in Box version & Tip-on Sleeve with OBI version.
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Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs’s method. It was also Julien Gasc’s response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time as far as the eye could see, and a piano.
For a long while, it hadn’t been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he’d composed for steel guitar pedal, that Julien Gasc sketched the first draft of “Ce soir les bouteilles dansent” (“Tonight the Bottles Are Dancing”). This was combined with a version of “Rosario Bléfari”, recorded on an inexpensive Casio synthesizer. These were Re Eff’s baby steps.
While everything was at a standstill, in stasis, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren’t answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed Re Eff. The name comes from “re” (re-) and “effacer” (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the “g”.
Like its title, a kind of serious joke, the album is one long interplay between humour and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements.
Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in “La scie de la vision modern” (“The Saw of Modern Vision”), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp’s Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian.
Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined (“À travers le regard de l’indienne” / “Through the Amazon’s Eyes”), the theme of enclosure and passion (“Amour velours” / “Velvet Love”), melodrama ("Délivrance"), and romantic novella (“Tout ne peut pas nécessairement donner quelque chose” / “Not Everything Leads to Something”). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events – his own and those of the world – in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.
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Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years.
Dig in...
East Midlands house legend, Charles Webster, relocated to San Francisco in 1992, setting up Spirit Studios in the heart of the city and a highly productive period ensued. The 'White Powder' EP released in 1995, under Charles' Presence moniker is widely regarded as a classic of its genre, up there with any of its contemporaries on Prescription or Murk. All 4 tracks are flawless and groundbreaking in their ability to to draw together elements of soulful deep house, tribal percussion and the deep melodic tech-house sounds emerging from Europe and America's midwest into a unique whole.
EP opener 'Heart' features the haunting vocals of Sarah Jay, the track builds delicately, adding dark bass, before soaring strings lead into a melodic breakdown. $10's deftly programmed drums really deliver the funk, the deep melodic synth and pad progressions are mesmerising, whilst an unforgettable bass-line underpins the journey. Over on the flip 'Giving Love' intro's with gorgeous pad before shuffling percussion and an uplifting piano turn this track into a joyous ride. Lastly 'Powder Chords' sets the controls for heart of the dance floor, heavy kicks launch a much more techno influenced affair, it's dark and brooding but no less effective in its atmosphere and execution.
'White Powder' is all killer, no filler, a highly sought after slab of wax that has achieved cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Charles Webster, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!
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London’s SlothBoogie records welcomes Subjoi to its roster with his four-track ‘Reflections’ EP.
Hailing from Warsaw in Poland and now residing in Adelaide, Australia, Subjoi has been gaining steady traction in the House scene over the past five years, racking up releases on the likes of clipp.art, Shall Not Fade’s Lost Palms sub-label, Lobster Theremin sub-label Distant Hawaii and 13th Hour amongst others. Here we see him joining the roster of SlothBoogie Records with some more soul-infused and sun-drenched house cuts.
Up first on the EP is ‘At A Time’, seeing Subjoi lay down an amalgamation of disco string, brass and vocal samples atop a swinging drum groove, dynamically evolving with filter sweeps and a loopy feel throughout. ‘Gone’ follows next and employs more classic house tropes courtesy of a bouncy piano line, robust drums and hooky vocal chops.
Opening the B-side is ‘What You Do’, shifting things aesthetically to 2-step drums alongside airy stab sequences, bubbling synth melodies and processed R&B style vocal lines. ‘Sapporo Nights’ completes the EP next on a deeper tip, journeying through hazy string lines, warm bell chimes, heavy doses of sub bass and stripped-back, bumpy drums.
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AVNU (UK) follows up his fantastic recent single on Ellum Audio with a long-awaited and hugely adventurous new album, ‘Tough To Love But Worth The Effort’.
AVNU (UK) is based on the East Coast of Scotland and has been deeply immersed in music for twenty plus years. He has a love of everything from rock, soul and blues to disco, electro, techno, trance and rave. All of that comes out in his innovative sounds, which range from sweat-inducing club tracks to hooky and feel-good grooves. This album finds him working his magic across 15 tracks that bring plenty of fresh perspective to house, electro, synth, techno and pop. They add up to a storytelling record filled with left turns and tracks that work in a range of different contexts.
'Surprise!' opens with a glossy electro beat and shimmering 80s synths that set the tone for the whole record. 'I Love You' brings a French touch influence with plenty of filtered synth loops and crisp drums under a soulful vocal, then 'Supaflake' cuts loose on an old-school funk vibe with nods to early Daft Punk. This most colourful of records plays out through the likes of sombre cosmic techno offering 'Bad Karma,' the longing chords and heavy-hearted electronica of 'Odyssey Jam' feat Mariel Ito and distorted bass of 'Phlegm In The Street' which comes with laser-like synths and menacing vocals.
The future styles continue on 'Yo E, Check This Out' which collides jungle breakbeats with brain-melting sine waves, while 'Wilkie' is a moment to catch your breath amongst bright and shiny synths and deeper drums that suspend you in a celestial sky. 'Proud You’re Mine' is a perfect electro-dance-pop gem that has potential to be a summer festival anthem and the title track closes down with six minutes of enchanting and mystical synth lines and hypnotic drums.
‘Tough To Love But Worth The Effort’ is a spectacularly broad and accomplished album that lives in a world of its own.
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From one of the most colourful and vibrant eras of music, comes “DISCO FLOORFILLERS”, a 28 Track DoubleLP set featuring some of the biggest hits of from the era.
Amongst the 24 top 10 hits, Artists/Bands include Chic, McFadden & Whitehead, Earth, Wind & Fire with The
Emotions, Shalamar, The Whispers, Sister Sledge, Edwin Starr, The Real Thing and Gladys Knight & The Pips.
The set also includes the #1 singles by Anita Ward, The Village People, Carl Douglas and George McCrae!
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Prolific 90's house maestro Maurizio Verbeni strikes again on Digging Deeper . After stellar past releases on UMM , MBG Records , Discomagic , UMD amongst others his rare and original release on Trancebeat from 1992 with his aka PDQ gets a full re-issue and remaster. Not everybody understand house music
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Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".
Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.
Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.
UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.
So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.
The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.
Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.
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AI-31 sees the debut release from a new collaboration between Samuel van Dijk (Netherlands) and Rasmus Hedlund (Finland). Both key proponents to the scene in Northern Europe, they come together with mutual understanding and a common vision to sound. Dialog acts as a conversational exchange that sees the interplay of dynamic frequencies, evocative imagery and contemporary sonic art. Spread across four sides, the album as a whole exists as a kind of metaphysical process, eternally growing and contracting — change is the only constant, marked by a continuous progression of sound and space.
Expansive, deep, and at moments arresting, Dialog unfolds with sweeping soundscapes and shimmers with tactile sonic details. A chasmic rift of scintillating drone structures, each layer exposes a series of ever-deeper shades. In a play of dynamic dualities, the pair harnesses both earthly materials as well as access to more ethereal dimensions in the music. Side A begins with sub-terrestrial ruptures, gestating in a process of constant elemental changes. Rattling hits sputter amongst a state of nascent chaos, yet continues to be maintained in self-regulating stasis. Side B sets a more introspective tone, whispering with ghostly artefacts and bubbling synth lines, before building into a driving energy of layered field recordings and mechanistic timbres. The essence of form continues to be contested, until it subsides into momentary calm on side C. A cleansing period of soft drones float into the space and the pace slows, washing away remnants of past. The journey continues with side D’s conclusion - a solemn contour that reaches its internal extent, to then finally return to its source.
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The next release in CUE Music's catalogue sees Butane teaming up once more with Riko Forinson for "Brainstorm" EP alongside Nima Gorji on remix duties. The record definitely adds extra magic to the label's discography, lining up to the previous releases from Elchinsoul, Sascha Dive, Sascha Sonido, Danilo Schneider, Dubphone, Heerd and label head Sven Jaeger, among many many others.
A firm believer that the long hours of studio work keep a musician grounded, Butane boasts an impressive discography, released by some of the most highly regarded labels in the business, such as Crosstown Rebels, Sci+Tec, Hottrax, Fuse Records, Lauter and Get Physical. As a label owner, he's the founder of three influential underground dance music imprints of his own, Alphahouse, Little Helpers and Extrasketch.
Riko Forinson is an Italian artist passionate about the sound of drums and piano which he studied intensively from an early age. After a while of exploring the acoustic dimensions of music, he immersed himself in the world of digital electronica, performing as a DJ at various events and releasing with labels like Orpheus Recordings, Lucidflow, Dushe Label and Bar 25 Music. Nowadays he's an author, composer and producer who loves to play with various techniques while integrating jazz, reggae or classical aspects into his compositions or sets.
In charge of the reinterpretation of the title track, Ibiza-based Nima Gorji is well-known on the international scene, with a career that spans more than three decades. In 1999 he founded Welt Recordings followed by NG Trax and Need For Sound, relentlessly following his passion for electronic music by releasing numerous personal works as well as promoting other artists. His rich discography includes materials published through labels like Sci+Tec, Deeperfect, Fuse London, Bondage Music, Out Of Orbit, Love Letters From Oslo, Indigo Raw, Out Of Orbit, Cocoon, Murmur, Natural Rhythm, Bla Bla Records, ÉTÉ,
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Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, Nottingham and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your
wants list for years. Dig in....
Back in 1997, UK house legend Charles Webster, this time under his DJ Profile alias, unleashed these killer tracks. Originally released on the sorely missed London nightclub The End's label, this fine 12" set a benchmark for what would become a very exciting time for the UK's underground scene, both tracks are widely considered to be up there with Charles' most sought after work.
A-side 'Prove It' kicks off with swinging drums that deliver the funk, percussive elements rattle & shake and the low slung bass line keeps the track firmly on the dancefloor. The soothing chords, acid overtones and the evocative vocal hook are mesmerising and soulful.
Over on the flip, 'Realization' is a bumping analogue monster. The kicks are solid, the snares swing and an infectious rolling bass line carries the track throughout. Darker acidic touches sit alongside delicate synth riffs and emotive chords that lift, drift and lose you in a world of wonderfully woozy deep house sonics.
Never has the late night dance floor sounded so good, and this slab of wax is a must have that typifies a halcyon period in underground house history. The tracks themselves have remained exciting and relevant, achieving cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Charles Webster, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!
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Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. Recorded in New York, and originally released in 1976, 'Juice' presents Ryo at the height of his powers.
Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.
'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.
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A selector, producer and label head at the top of his game, Enzo Siragusa continues to prove exactly why he’s held in such high regard as a staple of the underground music scene. While developments have seen the FUSE boss adjust his approach, recent months have combined a wealth of studio time with the unveiling of new projects – most recently announcing the launch of his new genre-bending all-night-long event series, E:Dimension. Yet, there’s something about a release from Siragusa on home turf that stands out amongst the pack, with productions like ‘Sagamore’, ‘Desire’, ‘Flexin’ and the ‘Kilimanjaro’ cuts instantly recognisable after just a few seconds, and the same looks set to happen as he makes his highly-anticipated return with his first solo material on the label for over two years. Unveiling one of his most heavily requested tracks to date alongside further peak-time business on the flip, April finally welcomes the arrival of the two-track ‘Nothing Matters’.
A track that’s been making waves for months, ‘ICV (Double Flake Mix)’ brings the sub-shaking, cavernous reese bassline now captured by many across the globe as Siragusa launches into his signature blend of heads-down, hands-up sonics, while the vinyl-only dub delves into afterparty territories to offer up an exclusive version for wax owners. On the flip, title cut ‘Nothing Matters’ graces the B-Side and keeps things moving as meandering melodies ride rumbling low-ends, swinging drums and chunky grooves to shape up proceedings in emphatic fashion. It’s safe to say Siragusa’s back, and he’s back like he never left.1
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Should we look back and bring something of the past back into the forefront of our mind?
We think yes!!!
Because Kellerkind's “Disco on the Dancefloor” remains to this day a huge milestone in Sirion Records discography and the original track is still 10 years later an absolute earworm.
Dedication, constant focus on music, care and respect for others, are attributes that continue to apply to Kellerkind and have moved us to a remake of this infamous title.
As the title of the main track says, “Disco on the Dancefloor” with its groovy basses, poignant disco stabs is ideal for the dancefloor and still perfectly suited to inspire the masses.
But Kellerkind doesn’t rest on the guaranteed success of the past, he immediately delivers a thriving remake that perfectly reflects his current musical taste. Percussive, hypnotic and an all-around successful job to dress the track in a new garb.
Fittingly, there are two remixes by 8 Bit labelhead Gorge and Bernese producer Youen, among others.
A housy framework paired with percussion, discoid bass line and the hypnotic synth surface in the usual Gorge manner, not only gets the legs bobbing and the head nodding, but animates to conquer the dance floor.
Youen's techhousy remix puts the focus more on kick and clap and therefore comes as a true stomper. Peppered with the discreetly used samples, this makes for a wonderfully danceable mix for peak time.
10 Years of “Disco on the Dancefloor” is therefore more current than ever and an absolute must in the record bag, either on vinyl or digitally.
Order now. Collecting orders for repress.