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Bad Bad Hats are an indie rock trio from Minneapolis, Minnesota.
Known for bringing a joyful, exuberant presence to their live shows, touring
with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and
Third Eye Blind, the group took specific care to bring their fun-loving spirit
to their third LP, Walkman.
Kerry (guitar/vocals), Chris (bass), and Con (drums) let their collective hair
down on Walkman, bringing raucous and explosive riffs alongside witty lyrics.
Though you might not notice from their indie rock exterior, Bad Bad Hats draws
a heavy influence from classic pop songwriting that shines through in their
hooky choruses and strong melodic sensibilities.
For this release the band set out to push their capabilities as a trio. Subtle
changes in process helped the band achieve this goal, such as shifting Chris
from a wider multi-instrumental role to allow him to prioritize his bass playing, having Kerry record the bulk of the guitars instead. ‘You can hear all of our
musical voices a lot better on this record.’
A carefully crafted studio sound brings the record to life, injecting it with an
energetic voice that is unique to Bad Bad Hats. Walkman is the group’s fourth
time working with producer Brett Bullion, including their previous two LPs, Psychic Reader and Lightning Round, and the Wide Right EP.
Bullion and the band use the studio as an instrument, resulting in their most
polished work to date.

Yellow Vinyl

The first release on Optimo Music founder JD Twitch’s new compilation-focused label Cease & Desist will be a collection of pioneering turn-of-the-90s British “Bleep & Bass” techno tracks curated by author and music journalist Matt Anniss.

Join The Future: UK Bleep & Bass 1988-91 is a partner product to Anniss’s critically acclaimed book on the foundations of British dance music’s ongoing love affair with sub-bass, Join The Future: Bleep Techno and the Birth of British Bass Music. The book, which was published by Velocity Press in December and features a foreword by JD Twitch, documents in vivid detail the previously untold story of the Yorkshire-pioneered style and the impact it had on the development of UK dance music.

The compilation is the first to focus on Bleep & Bass since the sound’s heyday in the late 1980s and early ’90s. It features a mix of historic cuts, period classics, overlooked gems and unreleased material. It was mastered for release by Warp Records co-founder and Forgemasters member Rob Gordon, a producer, remixer and studio engineer who arguably did more than anyone else to define the sub-heavy sound of the style.

Gordon also contributed a previously unheard version of Alfanso’s “Dub Feels Nice”, a near mythical track he produced in 1991 that has never received a proper commercial release. The cut has been a secret weapon for a handful of Sheffield DJs for almost 30 years, most notably Gordon’s fellow Forgemasters member Winston Hazel. Fittingly, the compilation also includes the original unreleased instrumental version of Tuff Little Unit’s Steel City classic “Join The Future”.

Many of the other tracks on the compilation are rare, hard to find or have not been issued on vinyl or digital since their initial release. It opens with Unique 3 and the Mad Musician’s “Only The Beginning” – the 1988 A-side of the first ever Bleep record – and also includes tracks and remixes from fellow scene pioneers Ital Rockers (an early alias of dub hero Iration Steppas), Nightmares on Wax, Cabaret Voltaire and DJ Martin and DJ Homes, the previously unheralded Chapeltown duo behind the influential Leeds-based studio and record label BASSIC.

Elsewhere on the compilation you’ll find Birmingham producer Demonik’s sought-after debut single “Layrinthe”, a hard-to-find cut from Bedford-based men of mystery Original Clique, two classic cuts from the vaults of influential Midlands label Network Records and a glassy-eyed slab of Bleep/deep house fusion from 100 Hz.

Join The Future: UK Bleep & Bass 1988-91 will be released on double vinyl and digital download. The 10-track vinyl version features an insert with extensive liner notes by Matt Anniss. It also comes with a code to download the 12-track digital download version. The compilation will be released by Cease & Desist on March 25th 2020.

Here’s a definitive compilation of their first period career, Glaxo Babies was one of the most exciting british post-punk band of the era. Raised in Bristol – altogether with such local influential acts like Maximum Joy, The Transmitters and obviously The Pop Group – Glaxo Babies formed in late 1977. The band signed to local label Heartbeat Records (marketed by Cherry Red), with their first release being the This Is Your Life EP in February 1979; in the same year they released the single “Christine Keeler” . This led to them recording their first session for BBC radio’s John Peel the following April, and the track “It’s Irrational”, from this session, opened the seminal 1979 Bristol Compilation album “Avon Calling”. Their aggro mix of in your face lyrics and groovy bassline led to a unique formula, with both their feet in the post-punk scene and the uprising black jazz crossover. The so-called white funk was the plat du jour, even if the band soon achieved a straight and original personality. Fully remastered and licensed, ltd to 500 copies.

The French electro genius returns to New Flesh Records. Author of a remarkable "Moving Corridors" contribution on the mighty "Elektro Diktators Vol.1 - The French Dissidents" compilation (New Flesh 15) back in 2015, dynArec delivers today on Umwelt's imprint four raw and dystopian slaughters calibrated for maximum impact on the dancefloor.

The title track signs a no nonsense aquatic electro/techno tune a la Drexciya, tinted with melancholic strings and heading Speak n' Spell samples. Pure madness! Cyberpunk "Correlation" goes harder, offering a pounding 4/4 song enhanced by appealing vocoder lyrics and deep synth flights while syncopated "Influoncers" coming next focuses on a more robotic, experimental yet unhealthy approach. Final cut "Clean It Up" concludes the EP on a machine funk note characterised by insane female vocals, distorted chords, relentless bassline and futuristic touch throughout.

Magnetic and emotional, forward thinking "Disenchanted EP" alternates in a minute between very melodic moments and epic hard techno sequences. With roots from both Germany and Detroit, this electro masterpiece sees dynArec in full effect, showing his unique sense of the dancefloor thanks to an incredible use of bass, rhythm and pads that makes the tracks effective and advanced at the same!

Strut return to the rich archives of Black Fire Records for the Drum Message album by Ghanaian master percussionist Okyerema Asante from1977. After playing a short spell early in his career with Ebo Taylor's Blue Monksband at Tip Toe's in Accra, Asante joined the fledgling Hedzoleh Soundz during the early '70s at their Napoleon Club residency in the city. After playing Fela's Shrine, Fela recommended them to Hugh Masekela as an ideal backing band and Hedzoleh joined Masekela on a US tour in December 1973. Sharing the same management company, Charisma, Asante first met Plunky and Oneness Of Juju during an East coast tou rwith Masekela, starting a relationship with the band that has endured until today. Recorded at Arrest Studios in Washington D.C. in October 1977 and featuring musicians from Oneness alongside Gil Scott Heron cohort Brian Jackson on piano, Drum Message represents an important milestone fo rAsante: "This album really came from my heart. I wanted to project the African spirit in the music and come out with some unique African jazz. To be able to record it on Black Fire was extra special." The album also involved some serious physical graft: "The studio was up on the 14th Floor and the elevator was often broken down. I showed up with a van full of African drums and Jimmy Gray from Black Fire and myself had to carry them all the way up there, each day!" The resultant album was well worth the sweat. 'Adowa' adds jazz arrangements to a traditional Asante rhythm and Oneness classic 'FollowMe' is skilfully re-worked ("I used the bass drum in place of the bass guitar so it was all based on rhythms."). New versions of Asante dancefloor favourite 'Sabi' sit alongside the mellow groove of 'Asante Sana' ("I wantedsomething cool like reggae or highlife on that track, a similar vibe. So, Iwent inbetween.").

“Is the juice worth the squeeze? Is the honey worth the bees? Is the trip
worth the risk? Is the rub worth the fleas?”
These are some of the big questions CHILDCARE find themselves pondering
at the top of their second album ‘Busy Busy People’. It’s a mantra that returns
later in the record but remains in the back of your brain throughout, a playful
enquiry into the purpose of our everyday activities that highlights the South
London-based group’s knack of marrying the surreal with the ordinary; soberly
tripping out during the big shop.
It’s something the group have been refining as part of their identity since their
genesis, when singer Ian Cares spent the time between school runs at his nannying job writing songs. He started adding other musicians to the project gradually until two EPs (2017’s ‘Made Simple’ and 2018’s ‘Luckyucker’) and one
album (2019’s ‘Wabi-Sabi’) later, Ian, male guitarist Rich Le Gate, bassist Emma
Topolski, and male drummer David Dyson have shaped CHILDCARE into one of
the most unique emerging groups in the UK.
They’ve earned themselves a loyal following of fans, sold out their biggest
show (so far) at London’s Scala and gained support from BBC Radio 1 (Annie
Mac, Jack Saunders), Spotify (several New Music Friday slots) and five SXSW
2020 showcases, which of course, never happened.
Busy Busy People was recorded at Somerset’s Distiller Studios with producer
Dom Monks (Laura Marling, Big Thief, White Denim)
Former BBC Radio 1 Track of the Week with key supporters incl. Jack Saunders,
Annie Mac plus BBC 6 Music’s Steve Lamacq & Radio X’s John Kennedy
Performed on the BBC Radio 1 stage at Reading/Leeds 2019 and were slated
for SXSW ‘20 before the pandemic hit.
They also sold out London’s Scala in Christmas ‘19.
UK tour kicks off September ‘21 Bassist Emma Topolski also performs as touring
member with Bombay Bicycle Club, Dua Lipa & Laura Marling

Ish Returns To System Error With Drum & Bass Infused LP titled “Psychedelic Renaissance”.

Berlin based artist and live performer, Ish, showcases his diverse productions once more on the quickly establishing, System Error imprint. Taking care of the launch of their ERROR300 series. The “Psychedelic Renaissance'' LP is for the versatile tastemakers amongst us, focusing on a drum & bass style with a futuristic edge. The album meanders through six tracks that sum up the genre straining ethos the System Error brand continues to push, embracing the unique, and propelling otherworldly sound environments for listeners to enjoy.

“Psychedelic Renaissance” sees the Swiss producer utilise his vast musical knowledge, proving his versatility once more with an intriguing body of work that sits comfortably under the System Error umbrella as they inaugurate their Drum &

Forty years ago, on July 8th and 9th in 1981, a group formed by the splintering of some of Bristol’s essential post punk bands, entered the hallowed studio at Berry Street in London to record their debut single. What would emerge was not only an exuberant post funk classic on the A-side, but also a wildly influential dub workout on the flipside, whose reverberations can still be heard today. Both songs have proven essential in very different ways.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist and multi-instrumentalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant charge of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style.

Bursting at the seams, “Stretch” feels like it can barely be contained within the studio walls. Rainforth delivers a vocal performance that can only be found within the freedom of someone recording their first ever single. I’m not lying when I say there isn’t another song that sounds quite like it. The group’s love of funk is evident on “Stretch”, but the heavy influence of dub and reggae from their surroundings shapes the moody skitter of “Silent Street”. Here, the sing song vocals seem to drift across the heavy late night air. The two songs are wildly different, yet both could only have come from this key collection of players. Paired with the likes of The Pop Group, The Slits, The Raincoats and the On-U-Sound collective, Maximum Joy still stands out as a unique voice in the movement.

Y Records head Dick O’Dell would join the sessions and give the release a warm home in the UK while legendary 99 Records in New York took on the US release since Maximum Joy made perfect sense being equal parts ESG and Liquid Liquid. This 12” has been a staple for DJ’s in the know since day one.

Introducing USA based artist Jon Linskey aka ‘Sectra’ to Tectonic! With a truly unique sound, Sectra’s music sits among the crushing, claustrophobic weight of Shapednoise drone spaces, the percussive dexterity of a Detroit techno wizard and summoning the power of DMZ with sub bass sonics designed to hug your ankles.

‘A Demon In My View’ runs at a dangerous 90bpm, a total night stalker of a beat riddled with menace and the deep stench of fear. You will be scared, but that’s OK, we’ll get through this. ‘Counter Culture’ runs at 126bpm and projects us far out into distance space for a Sci-Fi adventure to a distant galaxy with a techno shaped rocket to propel us out there (well, there’s a 4/4 kick in there at least..).

Flip for ‘Ashes’ where we get a hint of dubstep influence melded with mangling technology and more perfectly placed sounds. Lastly we turn to ‘Bedlam’ which takes the pace down a few notches and we find ourselves hypnotized in a half-step, rocking gently, wrapped in a blanket, slowly shaking off the trauma.

For the second release in our Re-Issue Series we've teamed up with London duo Euphonic for a cherry picked deep dive into their back catalogue exploring some of their finest works, fusing Jungle, Breaks, and Down Tempo with unique programming, bass lines and traditional jazz/blues instrumentation.

The "Low Orbit Archives" 12" features a number of artists whom they have collaborated with since the project's inception back in 1997, including dr. Israel, Soothsayer, Kirsty Rock and Neech. Euphonic is led by producer Rob Henry and former Graffiti artist turned DJ Nick Trimm.

Following Part 1 of the project, the recently released 10" vinyl "Jah Science", the full LP follows, featuring an additional 5 tracks with Part 2 offering a wide spectrum of music for audio lovers and record collectors. All tracks have been taken from CD, Vinyl and DAT, unearthed and newly remastered.

DJ Pantha joins the Time Is Now family serving up a weighty cut of bassline driven goodness. Born and raised in Dudley DJ Pantha's career began in 2007 and this saw the start of hits such as 'Bully boys', 'They can't do it' and the most successful to date 'Candy Shop'.

DJ Pantha is one of the pioneers of Bassline and has spent the past 14 years mastering his craft, now finding himself with his own unique sound. Pantha links up with Bristol based label Time Is Now for his first vinyl release.

Rakoon, a free spirit from the French electro-dub scene, known for his heavy weighted basslines in concert, comes back this year with his new album "Something Precious".

Since his first hit "Healing Dub" viewed more than 10 million times on YouTube, the producer has pursued his quest for an ever more hybrid and unique sound, combining synths and samples from travels, within pop structures with electronic features. "Something Precious" is a true synthesis of the eagerness of his first works and the power of his previous album, and confirms an even more electronic turn in the artist's career. It’s a bundle of energy carried by bewitching melodies; the travel journal of an enthusiastic musician, strewn with samples collected on the road.

“The musical guideline of this album first came one day when I got out of my studio after working on a track, feeling some kind of ecstasy that I hadn’t felt for years. Something that I used to feel almost every time I made music back when it wasn’t my job, but that had changed afterwards. It was like finding something really precious you thought you had lost forever…” says Rakoon about the genesis of this new album.

Whether it be with the intoxicating sample of "Hoi An" brought back from a trip to Vietnam or the galvanizing synths of "Chapters", a hit cut for the dancefloor, Rakoon treats his early fans to new gems true to his carefully refined recipe. But he also doesn't hesitate to venture into more electronic territories, like on the devastating "The Great Big Elephant", with its catchy sample and its synth’s nods to trance. Or even to surprise, with the use of vocoder on "Rituals" for instance.

"Something Precious" is the result of a significant sound research and an in-depth work on emotions. Its magnificent cover is signed by the English illustrator Miles Tewson, and it can be listened to like a diary that Rakoon shares with generosity and dedication with those who follow him, on and off the stage.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their second album, simply called "2" was originally released by Mascot Records in Europe in 2011. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

Producer Kevin Shirley explains "On '2', you can hear the band own their music, own their sound, and it is an astonishing musical group unlike any other and they are absolutely the kings of their genre." He continues sstating, "I wanted to explore more of the Bonham sound and more importantly each member of the band gets a unique opportunity to shine, but the music always has the distinct sound that is BCC." Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

We continue our special Dirtybird White Label Series with an artist that embodies what the eclectic new platform is all about, Nikki Nair - A brilliant producer and wildly musical mind.

The "More Is Different" EP is full of eclectic and unique productions. The lead track “It Goes”, seamlessly changes mood and direction from gnarly, contorted bass to angelic melodies. “Socket” boom-baps it’s way with square synths, frenetic beats and pensive keys, while the live drum kit, guitar and warped vocal on “Something” are unexpected, yet refreshing, elements to the anodic track.

The EP rounds out with “Want To You”, a fast-paced and frantic piece of work influenced by juke and ghetto house, perfectly encapsulating the sound of the series and Nikki’s immense talent.

Groove Access is back with a split EP by Dan Ryan & Ed Nine. Dan Ryan starts off Side A with "New Home", a super vibrant cut taking you on a deep atmospheric ride with a fulfilling bass line, groovy chords and strings programed with timeless x0x Drums. "Fuzzy Tape Dreams" is quite unique with crunchy and knocking drums crafted with smooth and hypnotizing pads, occasional piano hits and leads with minimal vocals sprinkled in. Ed Nine takes over Side B with "Another Day", which starts off with a glowing intro followed by a punchy rhythm. The groovy feel of the track is carried throughout with simple chord hits and dreamy fillers. Lastly, "Distant Reality" is a serious groove consisting of head nodding patterns with aggressive stabs, pads, and leads that will move the dance floor.

Masters within the evolution of ambient and experimental music over the past forty years, Michal Turtle and Suso Saiz come together for the first time for ‘Static Journeys’, a full-length collaborative album. Unfolding over six diverse tracks, Turtle and Saiz imagine the memories, journeys and textures of half-a-dozen cities borne only of their imagination. Developed closely alongside Swiss agency and label PLANISPHERE, the music was premiered in it’s completed form during a performance installation for ON at Kunstmuseum Basel, a transdisciplinary event designed that featured live visuals from Ezra Miller and more.

While both wildly prolific, the music of both Turtle and Saiz was previously the domain of specialist collectors and obsessive record enthusiasts. Since 2015, a series of reissues on labels such as Music From Memory and reinterpretations of Turtle’s music on Planisphere have brought the back-catalogue of these artists to a much wider audience, and to each other. Far from nostalgic and fundamentally curious as expected, ‘Static Journeys’ captures these innovators transferring their unique chemistry into an ambient tete-a-tete rich in detail.

‘Static Journeys’ was recorded throughout 2019 over two individual recording sessions, each lasting a number of days. The first took place in Turtle’s infamous ‘living room’ studio, his cosy and domestic atmosphere providing the initial foundation for the pair’s long-form improvisations; Saiz focused on synthesis and modulation, Turtle providing hypnotic, looping percussion. Later, in a studio in Madrid, the roles became less defined. Saiz’s textures, musical time standing still began to kindly interweave with Turtle’s offbeat melodies.

The results of these meetings are blissful and adventurous. Following the welcoming undulations of opening track Buonovintra Beckons, ‘Missing Papotl’ dives into soaring, new-age percussion underscored by wistful melancholy. ‘ Returning to Brendelton’ unfolds as analogue tropicalia, static indistinguishable from tropical birdsong. ‘Hattalcuia Awaits’ is bound by mystery and anticipation, whereas ‘Leaving Okovozi’ presents a quietly spectacular exercise in minimalism, led by yearning bass and whistling chimes. Finally, ‘Caravan to Inek’ allow for a dense, hopeful finale, incorporating electronic guitar and the afterglow of new connections forged.

Blissful, diverse and occasionally sublime, ‘Static Journeys’ combines experimentation and creative trust to deliver a timeless musical meeting.

Moscow and Propaganda resident Alexander Babaev, also known as Rekord 61. In the past few years, he has been churning out an impressive series of deep, melodic, and moody tracks which all showed a truly unique blend of Techno. As our label boss Psytox is a huge fan, it was only logical we'd invite him for an EP.

Four tracks will take you further into the mind and soul of this gifted producer. All tracks are deep, dark and moody with a sub bass aiming at the dance floors but without taking the easy way out.

We can't wait to hear what you think about the tracks.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.

The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.

The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterized by musical curiosity and improvisation.

The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.” This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Dublin rising star Sputnik One lands on Facta and K-LONE’s Wisdom Teeth with his most accomplished record yet: a flawless four-tracker of mutant dancefloor gear that draws on broken UK techno, psychedelic tribal, footwork and ravey post-hardcore. Fans of his standout outing on Well Street Recordsearlier this year will have a good idea of what to expect here: uniquely voiced and refreshingly forward-thinking bass-heavy club tracks at a range of tempos, all unified by a distinct sonic palette that pits glossy digital synths against raw organic samples and found sounds. There are echoes of Shackleton and Olof Dreijer in ‘Love From Above’ and ‘Michael Cera’, whilst ‘Microbead’ and ‘Powder’ offer refreshed and refined takes on modern post-dubstep / post-hardcore club styles. Across the record the tempo creeps from 130 to 150, keeping all bases covered as late summer ravers migrate towards darker autumn dancefloors.

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

Latin-infused Hip-Hop project by The Breed and Richard Holzmann feat. FLKS, Cy Leo, Kid Taro, Phlocalyst and Franz. Cover photo by the legendary Estevan Oriol (Netflix / LA Originals)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.

160 gram black vinyl LP, with glossy color jacket, and 8 page full sized color booklet with lyrics, rare photos, and notes by Hamisi Delgado, Werner Graebner, and Salim Zahoro.

Formed in the mid-1950s, Kiko Kids Jazz created a stunningly unique sound amidst an explosion of Tanzanian guitar bands in the years leading up to the country’s independence. Defined by Salim Zahoro’s warm voice and the heavy tremolo of his electric mandolin, Kiko Kids Jazz incorporated their love of early acoustic Cuban Son, rhythms from their home town of Tabora, the exciting and competitive scene of acoustic/electric dance bands in Dar Es Salaam and Nairobi, the poetic strains of Taarab and Arabic music, and the tranquility of coastal Tanzania.

The results are both comforting and intriguing: expressive, strung out melodies on Salim’s mandolin and subtly com-plex percussion lock into deep grooves of thumping acoustic bass, jerky rhythm guitars, and Cuban-style trumpet breaks. The kind of sounds that can be approached from several rhythmic angles, until it all gels in the mind and soul.

Despite being one of the most beloved and innovative bands of their time, this is the first Kiko Kids Jazz LP ever re-leased, consisting of our favorite songs from 1962 and 1965, all beautifully remastered from original tapes and press-ings. We were fortunate to work with bandleader Salim Zahoro before his passing at age 85, shortly before the completion of this record.

Recommended for fans of Cuban Marimba Band, the Zanzibara and Ethiopiques series, Lipa Kodi Ya City Council, Original Music, etc.
Produced in collaboration with Salim Zahoro (1936-2021), Werner Graebner (Jahazi Media) and Hamisi Delgado. Licensed from Mzuri Records.

First ever vinyl reissue of rare private pressed Florida Funk/Soul from 1980. Featuring founding members of 'The Winstons' (the 'Amen Break', most sampled track in electronic/hip hop music). 180g Black Vinyl Edition limited to 500 copies, comes with obi strip and insert featuring unseen pics & liner notes. Streetlife was a short-lived soul-funk band from the Tampa Bay area and released just one album in 1980. The group was composed out of several dynamic musicians (ranging from street players to college professors) but at that time nobody knew (yet) that their Nite Songs LP would become such a much sought-after private pressed holy grail within the record collecting community! Streetlife was founded in 1979 by Sonny Pekerol and Phil Tolotta who were both members of the top-selling 1960s Washington DC Grammy Award-winning hit band 'The Winstons'. Their track Amen, Brother is the most widely sampled instrumental in the history of the electronic music & hip hop genres_it would become known as the Amen Break. When `The Wintstons' story came to an end, Sonny Pekerol (founding member and originally playing the bass - then successfully evolving into the manager and promoter) and pianist/vocalist extraordinaire Phil Tolotta would continue their musical friendship/collaboration under the name `Streetlife'. Their high-energy sound got the attention of local crowds in no time_so the decision to record and cut a vinyl album came as a natural thing. Nite Songs (produced by Sonny & Phil, who also wrote the bulk of the songs) saw the light in 1980 and quickly gained attention and airplay (receiving radio & television coverage nation-wide). Described as the hottest band from the state of Florida, `Streetlife' had the magnetism to captivate you, be it on concerts, nightclubs or on vinyl. Other members included: Octavia (responsible for the amazing lead & backing vocals on the album), Mark Halisky (on keyboards & the writer of two songs on Nite Songs), Ray Butler (on drums), Mike Milhoan (on trumpet), Bryan Mann (on the guitar) and Stephen Nathan (playing the trombone, flugelhorn & doing the arrangements). Charles Davis also played bass in the band for a while (he and bandmate-drummer Ray Butler were members of the `Washington Jamb Band' back in 1977). Mike Flore (Sax) and Ramon Lopez (from the well-known `Stan Kenton Orchestra') would also join them on the Nite Songs recordings. Collectively `Streetlife' had more than 75 years of experience_and these extraordinary talents (with almost as many varying backgrounds) are meticulously coming together on the album we are presenting you today. The entire album is filled with sexy (yet strong) unique vocals that make the listener experience a lot of emotions, aggressive `slap & thumb' bass lines & small yet groovy horn sections _one can clearly hear the influences of artists like Otis Redding, Curtis Mayfield, as well as several Motown, acts like Marvin Gaye softly slipping in. If you like your songs either slow, sexy and groovy or prefer them fast-paced and more experimental & cosmic_look no further, Nite Songs has it all. This is THE perfect combination of slick soul, blasting Hammond B-3 organ funk, smooth jazz and melancholic R&B piano works. This album just begs for a prominent space in record collections fans and crate diggers worldwide!

DJ Neet & Gordon Brown Jr strikes back with their second release on Local Talk, the follow-up to their Breaking Dub release.
They are continuing on the same route, creating their own unique twist on dub and adds an homage to the early dub creations on Ninja Tune.

Dopewise sets things off with its dubbed out slow motion groove, simplicity combined with hypnotic.
Searching for Gold showcase the duo's space and melodic dub with a smash of heavy analogue bass and melodic mood-enhancing brilliance.

unperson has quickly defined his own unique lane of deeply atmospheric and percussive bass-laden electronics. His 'The Ghosts That Gave' EP was released to critical acclaim in March 2020 with support from Mixmag, DJ Mag (9/10 Review) & Resident Advisor and plays across BBC 6Music ('Recommends Spotlight Artist' feature for Tom Ravenscroft), Saoirse's BBC R1 Residency, NTS, Rinse FM + more. With tastemaker DJ support from Call Super, upsammy, Errorsmith, Machine Woman, Minor Science, India Jordan, AYA, Bruce etc., unperson is becoming a formidable new face in the electronic scene having recently contributed to Crack Magazine's esteemed mix series.

The 'Struggles In Conjuring' EP sees unperson step further out of the "corners of the club" than he has in his output to date; with an alluringly warm introduction, 3 tracks primed for peak dancefloor dismantling and a remix from man-of-the-moment DJ Python – who had a career defining 2020 after releasing his 'Mas Amable' album (#1 in Resident Advisor Album of The Year 2020, #3 on Crack Magazine's Best Albums Of 2020, #87 in Pitchfork's 100 Best Songs of 2020 etc).

'Bedsitland' features three of the classic 1978 line up of The Members that recorded anthems and international hits for Stiff, Virgin
and Arista in the 70s and 80s.
The 'Bedsitland' album features ten fantastic new songs. What sets The Members aside from their contemporaries is the breadth of
the styles of music - sparkling guitars, throbbing bass, plus a lush mix with violins, whistles, uilleann pipes and accordions: New
Wave, Surf, Glam, Reggae and Punk mutate into a soup that is both unique and English. Echoes of The Kinks and early Floyd collide
with Krautrock beats and screaming leads. JC's unerring ability to write songs that tell stories and communicate directly with the
listener underpins the whole album. From the social isolation of the title track to the hypnotic, filmic 'The Day The World Stood Still'
through the travelogue of the 'Streets of Nairobi', The Members take you on a journey

Emotional Rescue and HMV Record Shop (Japan) team up to present six limited edition 7"s of DISCO REGGAE LOVERS music. Featuring Sugar Minnott, Dambala, One Blood, 101 Band, Red Cloud and here to start, for the first time ever as a single, Ernest Ranglin's, cover of The Dramatics R&B classic, In The Rain.

A defining guitarist and composer in the development of Jamaican music, Ranglin's career spanned mento to reggae, playing on the groundbreaking recording of My Boy Lollipop itself, before going on to work with the likes of the Skatalies, Jimmy Cliff and Bob Marley.

Moving to Florida in 1982, he teamed up with Noel Williams to mix the bass heavy sound the producer was famous for with Ranglin's unique playing. Featuring a who's who of the Miami scene including Bobby Caldwell, Timmy Thomas, Betty Wright and Williams himself, In The Rain continued the link between R&B and reggae to sweet perfection.

To accompany, for half this series, a modern producer offers their own remix. Here Nik Weston, DJ, promoter and owner of the respected Mukatsuku label, releasing afro, jazz dance and more and with a long standing association with Japan, presents here an instrumental dub - letting the groove roll and Ranglin's ubiquitous playing to shine."

Following their last release, The Day Before Halloween_an imaginative, distorted-synth-driven concept album_Atmosphere returns with a refreshing new project, simply titled WORD? Steering back toward their signature sound, the album further highlights producer Ant's undeniable talents as the project leans into the classic boom-bap aesthetic, bringing a unique energy out of Slug's wisdom, wit and delivery. From onset, WORD? proves to be every bit an exercise in refining and advancing their craft as it is a harkening to earlier work. That is, while their releases have grown more broodingly cinematic, and increasingly concerned with the human condition and mortality, WORD? manages to reintroduce moments of levity and lightheartedness throughout, an approach seldom heard on their albums of late. From album opener "Fleetwood," with its razor-sharp snares and warm fleshy bassline, to the resonant melody of "Clocked", there are strong hints of Atmosphere's nascent years within the sound. Meanwhile, songs like "Woes", "Strung" and "Vanish" cheerfully make light of daily hardships, but they're more likely to be remembered for making listeners want to bob their heads and sing along. With Slug and Ant directing the course, the album plays like a joyride through a range of experiences and emotions, with an extensive cast of special guests hopping in and out along the way, including Evidence, Muja Messiah, Musab, Nino Bless, Nikki Jean, Anwar HighSign, BlackLiq, Sa-Roc, Haphduzn, Lateef the Truthspeaker, Aesop Rock, and the late MF DOOM (RIP). The result is a project that feels like it came from the era or, perhaps more fittingly, the mindset that created albums like God Loves Ugly, Seven's Travels, or the popular Sad Clown series, while sounding as polished and perfected as more recent albums like Mi Vida Local or Whenever. Ultimately, WORD? pairs the breadth of Atmosphere's talents with the beauty of their growth, all while showing they still have a lot of fun in the process and don't mind letting the listener in on the fun as well.

Three years ago Danish guitar player and highly acclaimed session musician Jacob Gurevitsch made his solo debut with 'Lovers In Paris', a sweetly melancholic single which conquered sunsets worldwide and earned a place in many quality compilations and has over 10 million views on Youtube. Roll forward to 2018 and this stunning track now heads up the Danish guitarist's first vinyl album, on Kenneth Bager's renowned Music For Dreams label. The original album of 'Lovers In Paris' album entered the iTunes chart at #1 position in Denmark and was (back then) being hailed as one of the Records of the Year by the Balearic Community. And the success story continues. With over 2 million monthly streams Jacob Gurevitsch is a name to watch.

This vinyl debut album 'An Introduction' consists of selected works from the 'Lovers In Paris album, a few from his 'Cinematica' Ep and some from his forthcoming album 'In Search Of Lost Time.'

One could say A kind of Greatest Hits.!

10 melodic and beautiful originals.

'Mexican Margarita' is a truly impressive piece of guitar work with superb bongos and bass - already an essential tune for any Balearic collector - and the recently released single 'Spanish Inquisition' a current DJ Harvey fave, shows his technical and compositional ante into the world of Flamenco. 'Mapa De Soledad' and 'Poesia Del Mar' both gorgeous and moving Mediterranean-flavoured ballads full of emotional keyboards, soulful strings and accordions. The indelible upbeat of 'Motive Loco' and elegiac cinematic 'In Search Of Lost Time' remains memorable long after listening and this hits the nail on the head.

Jacob Gurevitsch the guitar player and composer has a unique sensibility to write themes and melodies that transcend time and sound like divine interventions.

As one half of Red Axes, Dori Sadovnik could perhaps already stake a claim as one of the most prolific men in electronic music. A natural artist, Sadovnik is the sort of musician who never stops recording, a creator ahead of a consumer, well-adapted to a frenetic lifestyle.

This particular impulse has been funneled into a project known as Kapitan, an already expansive collection of tracks clocking in anywhere between 130 and 150 beats-per-minute.

As for a home, it just so happened that DJ Tennis, friend, collaborator and founder of Life and Death, was processing similar instincts, borne out of his love and association with the nineties heyday of IDM, pioneered by labels such as Warp and Rephlex.

“I don't really know what led me there but I had a feeling that I needed to be in the mountains”, explains Sadnovik. “I'm not a nature guy, nor do I feel particularly spiritual, but I was always struck by the harmony of it all. Everything is in the mix.”

This all-encompassing, blissful philosophy is deeply felt throughout this journey, a fluid blend of analogue and digital sounds rendered as organic as the landscape that inspires the album. Interlocking rhythms evolve into unexpected chamber pieces and bubbling acid lines blossom into rave psychedelia on opening tracks such as ‘Weird Day’ and ‘Flowers’, progressing to the sound of ‘Takak’, which inspires meditations on enormous bass weight, as mantras creep in from the surrounding forest of sound.

In the album’s second-half, this sincere sense of awe expands further still. Centrepiece tracks ‘In The Valley’ inspires a true sense of wonder and transcendence, complex rhythms blending with wide-eyed reverence. ‘Smile’ is trippy and innocent while ‘Elleven’ crackles with whispering energy over whiplash breakbeats. Concluding with ‘Heart’, Sadnovik reduces the pace to a stepping, heavy rhythm, commanding a deep sense of respect for the untamed wilderness that has served as such a unique muse.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

“May Kun Bass” is a play on the Arabic expression ما يكون باس which, affectionately, means “may you come to no harm.”

Newcomer OACEM bends homemade sounds into jagged industrial rhythms that pop, lock, jiggle and stomp. Nodding to dub, electro, minimal, glitch and techno palettes, forged into saturated, twisted chunks of super-heated noise, May Kun Bass exudes a special energy that rewards the active listener. On remix duty: Technique Nado with a downtempo modular dub interpretation (also her first work on wax) and Vertigo Inc on the B3.

limited to 100 copies, 12 inch vinyl in matte white jackets with unique hand-stamped artwork.

Muck Spreader found a home in the London circuit, performing alongside the likes of Fat White Family, Wolf Alice, Warmduscher and Black Midi; though this is not an indication of their sound, which continues to be forever morphing, unique and uncategorizable. The band’s latest EP Abysmal is their first vinyl release and signals a louder and further departure into sonic experimentation.

The EP follows Rodeo Mistakes, released last year to acclaim from the likes of So Young Magazine, DIY, Dork, Huw Stephens at BBC 6music and Jack Saunders at BBC Radio 1. With Abysmal we find deranged screams and a music rich with filthy bass, sludgy guitar, shrieking saxophone, and glitchy effects. The drums anchor the chaos.
On EP openerTake Flight Muck Spreader offer the following: "Fasten your seatbelts, find your nearest exit, and in the event of an emergency please assume the brace position. It’s going to be a bumpy ride. You are now in the safe hands of Captain Frosty Theodore, and the crew will do everything in their power to Keep it Mucky Take Flight"

Discos Transgénero re-issue the Marnie Weber classic first solo LP, “Songs Hurt Me” originally from 1989. This seminal record was an important part of the Los Angeles post-punk performative art rock scene. Brooding synthesizers, heavy bass, strange melodies, and poetic lyrics lead you through an industrial journey. These songs were born from Weber’s earliest performance art characters: a deer, an old woman, a manic courtesan, and a butterfly. Songs Hurt Me was originally co-produced by Phillip Drucker AKA Jackson Del Ray of Savage Republic and 17 Pygmies fame.

Marnie is a pioneer in art rock from the 80’s in Los Angeles. She emerged early in the music scene as the bass player in the Party Boys, a formative and important Los Angeles post-punk downtown art scene band. During this period, the Party Boys performed shows with The Minute Men, Savage Republic, The Red Hot Chili Peppers, Fourwaycross, The Blue Daisies, Perry Farrell’s first band Psi Com, Camper Van Beethoven, and many more. Bruce Licher of Independent Project Records, whom Marnie met in art school, released the first Party Boys record. After performing with the Party Boys, Marnie went on to become a noted solo performative art musician in her own right. She has released five solo records and numerous group album releases.

As a visual artist Marnie created the cover of Sonic Youth’s A Thousand Leaves album – interesting to note Marnie is the hamster girl on the cover. She also designed posters for Sonic Youth and did a co-release of her second album with Thurston Moore on his label Ecstatic Peace. Expanding from her musical roots, Marnie exhibits artwork, films, sculptures, collages, sound installations, and costumes internationally in museums and galleries. She has had two extensive survey exhibitions of her artwork ­– most recently at the Museum of Contemporary Art in Geneva.

Songs Hurt Me was remastered by Mark Wheaton at Catasonic Studios Los Angeles using the original tapes for an unprecedented restoration of this historic album. Discos Transgénero has thoughtfully designed and pressed the reissued LPs in Germany. This unique edition of Songs Hurt Me is a limited release of 400 copies distributed worldwide.

Snapped Ankles return to the forest, but it's not as they left it. Trees planted in neat rows. A well-ordered monoculture with access roads and heavy machinery. The smell of greenwashed money in the air. There's no sign of the ancient woodland they emerged from on debut album, Come Play The Trees. And it's far cry from the gentrified East London they found themselves hawking on Stunning Luxury. All is not well in the face of progress. Welcome to the Forest Of Your Problems. Even among the famously close-knit woodwose community there are factions forming. Meet The Business Imp, The Cornucopian, The Nemophile and The Protester. Each with their own motivations and belief systems. Their own sense of injustice: contradictions, anxieties and guilt. There are woodwose who have risen to the top in the boom and bust world of real estate and hedge funds. Grab what you can before the next crash. Others find euphoria in the absolute conviction that wealth and technology will see us through this. There are those with their recycling in order, who are well-versed in the prospect of imminent ecological and economic collapse, burying themselves in vegan cookery and extensive international holiday itineraries. And there's an increasing number angry at the state of the world, ready to take to the streets and the trees in an attempt to force real change. Forest Of Your Problems runs the gamut of modern woodwose emotions. In this neat human approximation of the forest, it's an increasingly knotted affair. Despite all of this, Snapped Ankles haven't lost their innate ability to make you want to move your feet - their Teutonic forest rhythms are still shot through with post-punk lightning. Whether they're exploring those opportunities which might arise when a Nigerian prince emails out of the blue on 'The Evidence', or referencing the crooked woodwose attempting to go straight on 'Rhythm Is Our Business', this is music to lose your inhibitions to. The moments of pure elation on 'Shifting Basslines Of The Cornucopians' are worth the admission price alone - "It's a great time to be alive!" ...apparently. Snapped Ankles outsider status has always allowed them to hold a mirror up to society. Now the boundaries are not so clear. In the four years since Come Play The Trees was released, their cult has flourished. Previous album Stunning Luxury saw the band invited to play the BBC 6 Music Festival and a KEXP session on the back of a sold-out UK tour which culminated with two nights at Village Underground in London. As those who have witnessed the shamanic ritual of their live shows will attest, they are a truly unique, communal experience. Forest Of Your Problems will see the woodwose bring their ancient forest rhythms and high-wire, multi-media live act to ever bigger stages - including Camden's iconic Roundhouse in October.

Analog Africa Presents Edo Funk Explosion Vol. 1, available on
2xLP/Gatefold LP with 20-page booklet / CD with 36-page booklet. It was
in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating
highlife music known as Edo Funk was born.
It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture
and fusing them with new sound effects coming from West Africa s night-clubs.
Unlike the rather polished 1980 s Nigerian disco productions coming out of the
international metropolis of Lagos Edo Funk was raw and reduced to its bare
minimum.
Someone was needed to channel this energy into a distinctive sound and Sir
Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo
took the skeletal structure of Edo music and relentless began fusing them with
synthesizers, electric guitars and 80 s effect racks which resulted in some of the
most outstanding Edo recordings ever made. An explosive spiced up brew with
an odd psychedelic note known as Edo Funk.
That’s the sound you’ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore
Joseph, Akaba Man, and Sir Victor Uwaifo: Osayomore Joseph was one of the
first musicians to bring the sound of the flute into the horn-dominated world
of highlife, and his skills as a performer made him a fixture on the Lagos scene.
When he returned to settle in Benin City in the mid 1970s - at the invitation of
the royal family - he devoted himself to the modernisation and electrification
of Edo music, using funk and Afro-beat as the building blocks for songs that
weren’t afraid to call out government corruption or confront the dark legacy of
Nigeria’s colonial past.
Akaba Man was the philosopher king of Edo funk. Less overtly political than Osayomore Joseph and less psychedelic than Victor Uwaifo, he found the perfect
medium for his message in the trance-like grooves of Edo funk. With pulsating
rhythms awash in cosmic synth-fields and lyrics that express a deep personal
vision, he found great success at the dawn of the 1980s as one of Benin City’s
most persuasive ambassadors of funky highlife.
Victor Uwaifo was already a star in Nigeria when he built the legendary Joromi
studios in his hometown of Benin City in 1978. Using his unique guitar style as
the mediating force between West-African highlife and the traditional rhythms
and melodies of Edo music, he had scored several hits in the early seventies,
but once he had his own sixteen-track facility he was able to pursue his obsession with the synesthetic possibilities of pure sound, adding squelchy synths,
swirling organs and studio effects to hypnotic basslines and raw grooves. Between his own records and his production for other musicians, he quickly established himself as the godfather of Edo funk.
What unites these diverse musicians is their ability to strip funk down to its
primal essence and use it as the foundation for their own excursions inward to
the heart of Edo culture and outward to the furthest limits of sonic alchemy.
The twelve tracks on Edo Funk Explosion Volume 1 pulse with raw inspiration,
mixing highlife horns, driving rhythms, day-glo keyboards and tripped-out guitars into a funk experience unlike any other.

Born Bad continue their mind-expanding and totally essential series of library music ‘Space Oddities’ compilations with this set focusing on French musician and composer Sauveur Mallia.
In the ever-expanding universe of 70s and 80s French library music, Mallia holds a special place; his career, multifaceted work and the uniqueness of his talent have made him an exemplary figure in the unsung world of library musicians.
In those years a few of them, often for economical reasons, would set off on a
space conquest, taking along just a few synthesisers.
Their ambition well surpassed the modesty of their means; it was in turn the
condition to their experimentations with sound which were to create a new
sonic space: that of a nation tumbling into modernity. From French soil to the
farthest reaches of the cosmos, there were just a few steps to take. It’s with the
label Tele Music, boarding the spaceship Arpadys, along with the Voyage crew,
that Sauveur Mallia took the big leap.

The Jive Turkeys are made up of four musicians who have been playing together for the better part of the last five years in a hip-hop group called Soundscape. Soundscape is a group based in Oxford, OH, home of Miami University. This is where Matt Amburgy (organ), Terry Cole (bass), Andrew DeRoberts (guitar), and Rob Houk (drums) first met. And while Soundscape has always provided all of them the opportunity to grow and develop as musicians through the group's unique fusion of genres (hip-hop, funk, jazz, rock).