Cerca:b funk production

Club culture in France would have been different if not for Micky Milan (real name Milan Zdravkovic). He is one of the true trailblazers of what is known today as French Boogie.
It all started when he was the in-house DJ of the highly popular club L'échappatoire in the Parisian suburb of Clichy sous Bois. In those days, he was well connected with Champs Disques, back then, the hippest record shop located on the Champs Élysées and had privileged access to the best imported U.S. 12" thus making his club the undisputed stronghold of disco funk.
A significant fact is that he is one of the very few French artists signed on the legendary U.S. Salsoul record label with the song "Quand tu danses". Teaming up with funkateer and close friend François Feldman, the track was recorded with Feldman on keyboards along with the Gibson Brothers on percussions, drums and keyboards, a French group, originally hailing from Martinique and Kamil Rustam who later went on to work to the who&who of soul and funk music adding his powerful licks of funky guitar. The influence of Lamont Dozier of "Going back to my roots", fame is that of a tutelary god all over these tracks. The goal behind this EP is to highlight Micky Milan’s multifaceted musical talents, from disco funk to jazz and synth pop. The record contains two tracks never previously released on vinyl, the groovesque “Paris amour” built on guitar riffs carrying the sexy voice of Alexandra and the instrumental version of "Quand tu danses"; epitomizing the essence of funk and the power of a sound on par with the American productions of the time. Hail to the pioneer.

Little Fritter returns to Hot Creations, delivering an energetic pair of house cuts across ‘My People’. Australian DJ/producer Little Fritter is on a roll of late, with the boisterous talent and Need2Freak boss serving up high-octane originals and remixes via Club Bad, elrow, Sola, &Friends and Thick As Thieves across a highly productive 2022. A previous signee to the label in August of 2020, April sees the Gold Coast artist return to Jamie Jones and Lee Foss’ iconic Hot Creations imprint with his two-track EP, ‘My People’.

Guided by a resonant vocal at the heart of the production, ‘My People’ is a vibrant and warm ride through funky bass licks, swirling synths and bright stabs, while ‘FLY HI’ harnesses disco-influenced loops and further vocal interludes above rolling percussion and sweeping melodies across almost seven-minutes of joy.

One more drop from the Switch label vaults - another killer UK disco-boogie gem from T.J. Johnson, originally released in in 1982 and recorded at the legendary Landsdowne Studios!

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"Switch Records was started by myself alongside Bill Campbell in the early eighties", says Aaron Harry - a library music producer who began using Lansdowne Studios in Holland Park for his productions on the renowned Bruton Music label. The studios had been operating there since the late 1950s, becoming the breeding ground for some key & early UK jazz and pop records (owner Adrian Kerridge teamed up with Joe Meek to lay down the first recordings there in 1958). It was here that Harry and engineer Chris Dibble started to work together as a regular team. After spending some time at the studio observing them in action, Kerridge and (Burton MD) Robin Phillps "recognised what a good team Chris and I had become" says Harry, "so, it was inevitable that I would also make pop music alongside Production Library Music."

The output of the relatively obscure Switch label is the result of this work, and Freestyle has licensed 3 of the most hard to come by 12"s as part of their series of rare & foundation UK funk & soul records. This one, Pretty Lady b/w Come On Let's Do It (Let's Rock) is provided by T.J. Johnson - a talented and seasoned guitar T.J. Johnson aka T.J. Bedeau is still working the gig circuit to this day. Jump on it!

Soundway releases a storming compilation of Cameroonian-born, Nigerian-based super producer Nkono Teles’ solo work.
The pioneer of West African electronic music was known for being tapped by over 100 other musicians to produce or arrange their music, from King Sunny Adé, Guy Lobe, even Steve Monite’s
album “Only You” and more. Having already appeared on Soundway’s best-selling compilation “Doing It In Lagos”, here more of Nkono’s
limited solo work is carefully remastered and reissued on
vinyl for the first time. One of a small handful of pioneers of the Nigerian electronic music scene in the 1980s (alongside the likes
of Jake Sollo & William Onyeabor), Teles was known for being tapped by over 100 musicians to feature on, produce or arrange their music. The list of ‘80s Nigerian records that his sound and style embellished
is seemingly endless: Steve Monite (he arranged and produced the music on the Only You album recently re-issued by Soundway), Dizzy K, Peter Abdul, Odion Iruoje, Steve Black, Rick Asikpo, Feladey, Charly Boy, Majek Fashek & Sonny Okosuns, to name just a few,
all engaged his enigmatic production and keyboard services throughout the 1980s. He became known as the first person in Nigeria to push the use of the drum machine into popular music and created a unique and original boogie-funk sound combining these new
beats with guitars and an array of new and affordable synthesiser sounds that started appearing in the early 1980s.

The first of for the tone for his work for the company: Leon Russell Freddie King ’s Shelter label set ’s three albums
superb electric blues with a prominent rock/ soul influence. The massive Texan and the longhaired Oklahoman got it right the first time
around with the aptly titled Getting Ready LP. Recorded at the legendary Chess studios in Chicago, it might well rank as Freddie King’s most creatively satisfying work.

An array of styles is assembled here, ranging from deep Texas Blues to touches of country church Gospel and hard sockin’ funk. Also, Freddie delved deep into blues history to give his spin on some classic pieces of the genre. Elmore James’ “Dust My Broom” is done acoustically, with just Freddie and his Spanish guitar. The production on Jimmy Rogers’ “Walking by Myself” is equally low-fi, adding Russell’s honky-tonk piano ramblings and a tambourine.

Willie Dixon’s “Worried Life Blues”, however, features King at his most powerfully expressive on this electric blues. The fast-paced stomper includes lightnin’-fast solos from King and he can be heard duelling with the studio guitarist Don Preston, as well.

This one takes us back! We originally reissued Waltel Branco's 'Meu Balanço' in 1995, it was one of the first releases to come out on Mr Bongo. It is a much-requested title with original copies becoming ever more-scarce and the price tag increasingly rising, so it feels fitting to present this stunning record once again for all to enjoy.

Waltel Branco was born in Paranaguá, Brazil in 1929 and died in Rio de Janeiro in 2018. During his triumphant career he accumulated an impressive musical portfolio. A true maestro who from the 1950s onwards appeared on productions as a guitarist, writer, conductor, composer, and arranger. He worked with some of the greats of Brazilian music including Elis Regina, Dom Um Romao, Bossa Três, Marcos Valle and Tony Bizarro to name just a few.

'Meu Balanço' was originally released on CBS Records Brazil in 1975. It is Brazilian big band, orchestrated jazz-funk at its finest. Echoing the library and film productions created in Europe and the USA at the time, it also displays the hallmarks of Waltel’s heritage with distinct threads of Brazilian flavour running throughout. The musicians on the record include under-the-radar players that were the backbone of the Brazilian music industry in the 1970s including Luizão Maia on bass, Edmundo Maciel on trombone and Paulinho Braga on drums.

The album flirts between jazz-funk, cinematic library excursions, breaks and beats, easy-listening, and 70s cop show instrumentals. It is a breezy ride into Waltel's world, wonderfully nostalgic and of another time and place, yet snippets of the production echo the beats of contemporary hip-hop iconic artists such as Madlib, knxwledge and The Alchemist.

First time vinyl reissue of this awesome 1978 Latin jazz-funk gem by Venezuelan guitarist Alex Rodríguez, featuring top musicians like Jorge Dalto, Nené Quintero and George Benson’s band members Dennis Davis and Stanley Banks, among many others. Originally self-released and distributed in tiny quantities, “Búsqueda” has reached grail status among collectors worldwide. The album contains quite a few heaters for the dance floor, like ‘El Mercado’, and tight, keys and guitar punctuated fusion jams! (just check the groovy opener ‘Cumana’.) Rodríguez is a classical and jazz trained guitarist who in the early days of his career joined some of the best orchestras in Venezuela, including Aldemaro Romero’s Onda Nueva. He put together a brief project, La Retreta Mayor, in 1976 which only released one album and would later move to New York where he had the opportunity to record his own songs with renowned musicians of the city at
that time, like Víctor Paz, Charlie Camalliari, Sam Burtis, Mario Bauza, Guillermo Edgil, Bernard Purdie, Jorge Dalto, among others. It took him a little more than a year writing the songs and preparing the material for “Busqueda” but in 1978 Alex Rodríguez would return to New York City. Jorge Dalto had spoken with Dennis Davis (drums), Stanley Banks (bass) who played together with George Benson, and Víctor Paz contacted Alex with Ronnie Cuber (saxes), an excellent saxophonist, who later recorded ‘Cumana’ on his own album “The Eleventh Day Of Aquarius”. Before going to the recording studio they did a rehearsal to review the music, and the next day Dalto, Banks, Davis, Cuber and Alex Rodríguez were recording in the CBS studio on 52nd street in Manhattan. The production and mixing of the album were finished in Caracas, at Sono 2000 studios, with the participation of excellent Venezuelan musicians such as Nené Quintero, Lucio Caminiti, Edgar Saume, Carlos Acosta, Alberto Naranjo, Rolando Briceño, Leo and Frank Quintero, among others. The resulting album contains quite a few heaters for the dance floor, like ‘El Mercado’, and tight, keys and guitar punctuated fusion jams!“Búsqueda” was then self-released and distributed in tiny quantities, becoming over the years a very sought-after collectors item, probably one of the most obscure albums from Venezuela. It now gets reissued on vinyl for the first time, including notes by Alex Rodríguez. 180g vinyl.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

By the time Lalo Schifrin composed the soundtrack for Frank Perry's psychological thriller in 1974, starring Cliff Robertson and Joel Gray (who'd just won an Oscar for his role in Bob Fosse's Cabaret) he was Hollywood royalty having worked on such iconic films as Bullitt and Dirty Harry. Perry on his side, had caused a stir with The Swimmer in 1968 starring Burt Lancaster (although he would dismiss the film after being fired from the production) and followed up with a string of great cult movies including ‘Last Summer’ (1969), Diary of a Mad Housewife (1970) starring Carrie Snodgress - whom Neil Young famously fell in love with upon seeing the film and "Play It as It lays" in 1972, adapted from Joan Didion's eponymous novel.

Breaking from the social dramas from of his previous films, Perry decided to shoot a thriller based on journalist William Arthur Clark's book "The Girl on The Volkswagen Floor." The film follows a police officer investigating a murder with the help of a strange ambiguous clairvoyant played by Gray. For the score Perry went to Lalo Schifrin who'd just come out of a bad experience on The Exorcist working with William Friedkin who'd rejected his music in favour of Tubular Bells by Mike Oldfield! The score was recorded in LA with the Wrecking Crew and, although the full line up is not known, it included Emil Richards, Howard Roberts, Bud Shank and of course Schifrin on piano.

'Man on a Swing' is pure undiluted Schifrin from the early 70s. The score plays like a long suite alternating Bossa Nova ("Juke Box Source"), Lounge Jazz ("Trip to LA") and groove ("FM Groove") with superb "suspense” soundscapes like "Rosehaven Hotel". The label has gone back to the Paramount 3-track tape transfers and come up with an updated tracklist (a CD version briefly appeared in the 2010s) - re-sequenced and augmented with a handful of bonus tracks and alternate takes. A highlight is certainly "Radio Source Rhythm" which, losing the guitar and organ, reveal a jaw dropping funk breakbeat that is in the league of Dirty Harry and Enter the Dragon. This and the whole soundtrack, will ravish all the funk diggers and Lalo Schifrin fans around the world.

One of the most spoken of dnb formations is back with a double pack that's one of the most spoken of project since their collaboration with Mayhem and KRS-One. They're taking the word collaboration to the next level with this spectacular Collision EP. 4 tracks made by Noisia colliding with other heavyweight formations from across the globe! The opener is "Cannonball", it starts off as one giant drum roll and then turns into a dancefloor roller that just "stays classy" everywhere you play it! For the second track Noisia collabs with Black Sun Empire to bring real 100% Dutch flavor to the floor. "Infusion" is a track that takes its inspiration from the Negative camp but blended to perfection by these 2 grand masterminds of music.

Plate 2 brings a tune that sounds a lot like ram trilogy's titan classic but your ears deceive you in this one. Its none other then a collab by Noisia & The Upbeats with a track titled "Mudslide"! it's heavy, it's bad, it pounds, it flows, it's just one of those records that can't be beaten! The closer is another collab by Noisia & Phace called "Levitation", this roaring production shows what this scene is all about: heavy beats combined with sick reese basses and a neurotic funk that you just can't get your hands on!

Again Noisia delivers proper quality with this slamming EP. This is one Collision you just can't wait to feel!

Comes in standard full colour Vision Recordings repress sleeve.

'The dynamic pop-meets-R&B duo, Two Another, today announce their hotly anticipated debut album “Back to Us”, an album that traverses themes of self-acceptance, queer identity, letting go of the idea of perfection and hope for the future. Blending alt-pop, funk and R&B, the upbeat buoyancy of Two Another’s sleek yet energetic productions on “Back To Us” has an infectious potency to transform a mood or an outlook track after track. The duo again confirm their unparalleled talent as they channel raw emotion into undeniable grooves across the ten tracks which are pumped with compelling stories executed by the honeyed melodies of Eliot Porter and the joyous synths of Angus Campbell.

The Mothership has come! It has arrived in the form of the strictly limited collection box “Music Is The Healing Force Of The Universe”, containing all singles released on the label between 2019 and 2021. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Jesse’s 80’s varnish sports car-electro and Purple Desert Rain God’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Music Is The Healing Force Of The Universe ” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

Detroit icon Eddie Fowlkes drops ‘Forever EP’ on Rekids this March.

As one of Techno’s originators, Godfather of Techno Soul Eddie Fowlkes has shaped the Techno genre for over 36 years. With his releases on Metroplex, Tresor, Sony, Peacfrog, and his own imprint CityBoy Records and Detroit Wax Label, Fowlkes' contribution to the blueprint of modern electronic music cannot be overstated.

Returning in fierce form for 2023, Eddie Fowlkes arrives on Radio Slave’s Rekids with a sizzling four-tracker. From the red hot drums and trippy vocals on the opening track ‘Forever’ through to the bubbly synths and swinging percussion on the B2 ‘Nice’, Fowlkes’ funk-infused House and Techno has its sights set squarely on the dancefloor - an unwavering testament to the lasting production chops of a true originator.

Originally released in 2003, Bazooka Tooth was the fourth studio album by Aesop Rock. It features production by Blockhead, El-P (Run The Jewels), and Aesop Rock himself. Guest features include El-P (Run The Jewels), Camp Lo, Mr. Lif, and Party Fun Action Committee. On Bazooka Tooth, Aesop's dizzying delivery and oscillating growl paired well with the production, delivering more apocalyptic angst and future-funk flavor than its predecessors. Buried within these sawtooth grooves, listeners have discovered a plethora of Aesop's keen observations on the state of the industry, the state of the world and the state of humanity.

"Gamma" is a dramatic Italian TV show from 1975, a mini-series that
combines mystery and science fiction, in a story that raises interesting ethical questions of science and medicine
The "Gamma" soundtrack, composed and directed by Enrico Simonetti, is a perfect combination of classical, jazz and pop music, with forays into prog and funk-rock.

The main theme was a 7-inch single released at the time which was No
1 in the charts. The success prompted Cinevox Records to release an LP which includes the two tracks "Gamma" and "Drug's Theme", especially written for the TV show, together with other songs composed by Simonetti. Like many productions of the time, the recording of the "Gamma" soundtrack was a mystery, but it is certain that Goblin took part in the recordings right after the release of
"Profondo Rosso": "Drug's Theme" in particular seems to come straight out of a jam session of Goblin playing from Rome.

4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. Nation bring it.
An essential delve in to the retrospective works of SSPS. Limited edition. No repress. HUGE TIP ON THIS!

" You can't fake the funk, as they say and SSPS is pure funk embodied in all he does, the man oozes the funk 24-7!
One of my earliest encounters with SSPS was at one of the infamous Rubulad parties out in Brooklyn....
the man was decked out extravagantly...a cross between Blowfly and some futuristic being zapped
down to earth directly from the P-Funk mothership. Who was this masked man?
The disco vampire, was beating fast disco tracks relentlessly while slamming in his 707 over the records in real time...
not an easy feat, the beauty of the imperfections making it that much more exciting hearing the gallop and wild energy
he was bringing to the crowd, we were eating it up. This is SSPS, fearless in his approach and execution,
a modernist looking to the future but rooted in the past, an artist committed to his art...
all presented with unhinged emotion. It's all or nothing...everything on the table....do or die...the true epitome of style!!!!

Declaring someone a "cult figure" or a "legend" is a huge weight to carry and is often a term that is carelessly thrown around,
but those of us who have dwelled in this "underground" over the last 30 years can say with confidence that SSPS is just that
to many of us, no questions asked, it's not up for debate.

Now, many years later we see the culmination of his electronic works from 2002-2021 committed to record in this 4xlp,
16 track boxed set (plus 45 page booklet) titled SSPS, "The Life and Times of GiGi Black" thus solidifying
Mr. Nicholson's place in the secret world of dance not dance music.

The only way to describe this offering is "full spectrum electronic musical madness" not to be categorized,
never to be pigeonholed, full of surprises and straight from the gut with a direct hit to the heart.
We could go on about the production processes, about his Furr City studio space or his cross country excursions
for work with a truck packed with paintings (but also his music equipment) plugging in and recording during his
pit stops in Motel 6's across the US. But again it doesn't do justice to simply have a small peek inside the man's mind...
the music is beyond the mind. The process is the process and nothing has or can stand in the way of what the SSPS
has done in his long musical life. Punk Rock, Hardcore, House, No-Wave, Industrial, Jakbeat/Slow-Beat and Noise.
it's all there for the taking, it's all intertwined. If you want it, you will find it within SSPS's works.

Nicholson's path is the embodiment of true culture within "dance music" cultivated from years of learning, experimenting,
and pushing the limits with total commitment and immersion. "The Life and Times of GiGi Black" is true life experience,
it is a reflection of someone delving deep into his craft and presenting it with care in opposition to the fast, disposable,
self gratifying click bait culture we see dominating the pages today. The proof is here, drop the needle, enter the world of SSPS.














n G2 1000 Truths Balearic Inaugural Mix

Thaniil Alexandros can’t imagine a life without producing. Under the name of RBCHMBRS, Thaniil has been tinkering with sample based productions for 17 years. In one form or another, RBCHMBRS has mashed inspirations of hip hop instrumentals with the funky, snappy bounce of UKG.

Being half Greek and half Dominican means that Thaniil’s first memories of music were of classic Greek music and his mother’s love of dance and disco. Growing up on the Bronx meant that he was exposed to a mix of genres his entire life. From boomboxes on the street or from the windows of his neighbors home, gave Alexandros exposure to sounds he hadn't heard.

Toe the Line EP was intended to return to stripped down elements of older releases, but something “a little less outer space, a return to earth.” Armed with an SP-404, RBCHMBRS wants to be playful without being reminiscent, always trying to move forward. He believes that nostalgic pain can propel an artist to make their best work.

While noting history teachers as salient inspirations that opened his eyes to cultures unknown to him, as well as a father who is a history buff of his own, Thaniil has inherited some of their reverence for the classics and the importance of learning from the past. Alexandros’ fundamentals are influenced by Madlib, Timbaland (“the early stuff,” he interjects), Q Tip, Havoc, Alchemist, UKG, as well as the culture that surrounded the NBA in the 90s, during his most formative years.

Keeping it in the family, RBCHMBRS works closely with critically acclaimed emcee/producer THERAVADA, who co-produced Sick by Earl Sweatshirt with him, and who is his cousin. Currently, RBCHMBRS is working on a self-proclaimed “sprawling dance album” with Tesh Curry. His audience has a lot to look forward to.

With his Estrella EP, his intention was expressed through the imagined feeling of a time warp, a portal, and maybe coming out the other end of it. He wanted Toe The Line EP to feel more grounded, a down to earth project that he leaned towards as he searched for his life to settle. This EP reminds him that many things in his life have changed for the better, and a lot of that has to do with the structure hes begun to install.

Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic “Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company label proper. Schooled as always in the deepest of electronic music roots and classiest of track traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout, creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three tracks of pure funk precision and expressive musical class from the man Kenneth Scott

Hilltown Disco celebrate 5 years with a star-studded compilation of artists that have featured and helped shape the label over the past half decade.

We dedicate this release to the legend, Wibo Lammerts who sadly passed away during the production of the record. Fly high, brother.

On the A-side of the vinyl we welcome back w1b0 and the excellent, Ole Mic Odd, who offer crunchy, dark electronics, perfectly sewn together, producing two future classics, with their bass-heavy electro.

Flip to the B-side and the record ups tempo, with the first track from Larionov & St. Theodore that showcases their slick, punchy electro productions, followed by a spiraling, hypnotic, machine-funk weapon by the brilliant PRZ. The record finishes with Robyrt Hecht’s stripped-back electro track with classic Hecht, signature, captivating vocals.

Massive thank you to everyone who has supported Hilltown Disco since we were founded. Here’s to the next 5!