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"21" is the well-crafted, sharp and original first album by the duo HILA, composed by American cellist Artyom Manukyan (who already worked with Kamasi Washington, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark...) and french producer Dawatile.

The combination of jazz, Los Angeles beat-scene and the vibrations of 80s and 90s Soviet Armenia make it a striking and unprecedented fusion. These kind of nostalgic and unconventional references forcefully shake the codes of mainstream culture to create a sincere, raw and intimate expression.

"HILA" was born from a spontaneous and intense creative impulse between Artyom Manukyan, a Los Angeles-based Armenian celloist and his partner in crime, David Kiledjian aka Dawatile, a French multi-instrumentist of Armenian descent. This project is proving to be a true master stroke given that it only took 21 days for the duo to make it a reality.

"HILA" was made in less a moon cycle but captivates and electrifies audiences upon its first outings. "H.I.L.A" colors the warmth of the Californian "High" with Armenian vibes. The artists chose this name for their creation since both have a close and valuable connection to these locales. This journey began in 2007, on the day Dawatile went to Yerevan, the capital of this small country in the Caucasus mountain to realize a first fusion project centered around local folkloric music genres.

There he was introduced to local musicians including the Armenian Navy Band, one of the country's foremost groups in which Artyom played the bass and cello. In this context, he also met many musicians such as Tigran Hamasyan and Norayr Kartashyan. This will be the beginning of connections between Lyon, Yerevan and Los Angeles. The following year, the two artists will be be seen performing next to Taylor Mc Ferrin at the Jazz à Vienne festival. More recently, they partnered up again when the cellist, who had freshly relocated in California, invited Dawatile to produce his album. As soon as the studio’s threshold was crossed, they decided to postpone this record and create a joint project: Hay (as the Armenians call themselves) / High In Los Angeles. HILA was born at the end of these 21 days of intense creation. The association of Artyom Manukyan and Dawatile is the combination of two visions, two versions of Armenia, two personalities, the reunion of the Eastern and Western blocs.

One grew up nurtured by the sounds of hip-hop and jazz in Europe and the other by art music and Russian-influenced 1980s Armenian folkloric music before moving to L. A., Ca. The cornerstone of it all, the glue that unites everything : Armenia and music. They generate a new identity synthesizing two perceptions, their complicity transcending these cultural discrepencies. To achieve this, they will scour through images of Artyom’s childhood, within the popular culture of Soviet Armenia. Together, they revisit this decidedly retro vibe, based on the work of Caucasian groups inspired by African American music. This background is rehashed and fused with ancestral Armenian sounds. The DNA of the album "21" is molded by these dear influences.

We can also hear the ancestral sounds of Armenia, a country at the edges of both Europe and Asia. The presence on two tracks of Armenian music Master Norayr Kartashyan, infuses the languor of past melodies and traditions. These purposeful anachronistic sounds offer a fantastic depth to this powerful opus. Listening to the album, one can appreciate the successful fusion of styles and influences. Those combinations, however, manage to preserve individual identities only to enhance the art through an adamant musical dialogue.

Being driven by the urge to transpose Armenian musical traditions into a unique universe, the daring artists, offer an innovative combination by blending, for the first time, these ancestral sounds with the world of Los Angeles beat-scene and jazz. An invention largely fueled by the magic strings of Artyom and maestro Miguel Atwood-Ferguson, a pillar of the genre in Los Angeles combined. These associations resonate with a triumphant equilibrium. HILA is musical uncharted territory in which Artyom's cello strings intertwine to ignite the harmonies of keyboards, the machines, the vocals and electronic layers Dawatile pieced together. HILA plays the soundtrack of an adventure set between Armenia around the end of the Soviet era and a mysterious near future.

Artyom Manukyan grew up in Armenia in the 90s. At the time, he studied Russian classical music while learning jazz with assistance by his father, a music journalist. Being an unconditional music lover, he went on to sharpen his skills at the prestigious Berkelee College of Music. Subsequently, he’s been lucky enough to travel the world touring with numerous acts and mainly with the Armenian Navy Band. The group has fostered alacritous success honored by a BBC Award as a crowning achievement. He moved on 10 years ago and made his way to L.A. with his cello on his back. In the City of Angels, he quickly became a popular figure of the jazz and hip-hop scenes thanks to his first album "Citizen". He’s accompanied prestigious musicians such as Kamasi Washington, Melody Gardot, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark, or Vulfpeck. He released his solo album on the cello, "Alone" in October 2019.

Dawatile is a bold producer and multi-instrumentist as well as a passionate and resolute musician molded by jazz. As a versatile artist, he handles and juggles the saxophone, the keys, the bass and composition. Simultaneously, Dawatile produces cross-over projects and soundtracks for the movie industry. He, as well, has had the opportunity to be a part of many tours, including with his electro hip-hop band, Fowatile and more recently with the "Future Kreyol" trio, Dowdelin. Being the ever workaholic, he has under his belt a string of prestigious collaborations with the likes of Talib Kweli, Foreign Beggars, Roy Ayers, Tigran Hamasyan, Mathieu Boogaerts, Voodoo Game and Piers Faccini. His taste for developing new musical recipes and his know-how in production make him a much sought-after album producer. In concert, the HILA duo offers a sober, precise and rhythmic performance. "21" is an aerial and lively album taking the audience on an at times joyous and sometimes melancholic dreamlike journey. The magic of "HILA" operates at the speed of light and positions it already as an avoidable group.

The drum and bass chart-topping artist, CURRENT VALUE, whose tunes are often a staple of Aphex Twin’s performances, returns to METHLAB RECORDINGS with his SENEX LP, which features twenty one of his most technical and innovative sonic works on the
ike-minded label.

A twin release with it's more upfront & riotous cousin PUER delivered via Souped Up Recordings, SENEX displays its half of the CURRENT VALUE sound with an expansive array of sonic sequences marked by their forward thinking sonic character and the singular timbres for which CURRENT VALUE is known.

Early in the album’s span come the glittering arpeggios of MEGACITY, which filter downwards above the bassline pursuit that plays out beneath their fluttering rays. Further in, DISMANTLE deconstructs a set of classic rhythms before reshaping them within the milieu of it's hazy pads under the pressure of it's mechanical low frequency generator.

An elysian piano melody wafts through the opening percussion of FRIENDLY TAKEOVER and therein masks the brutalist companion frequencies that await within the track’s second section.

ACCESS POINT surges within a stream of bitcrushed binary at the albums third quarter, and opens the way for the enigmatically warped sonics that course through the albums final sections and flow within the depths of it’s voidborne closing track, CRYSTAL BALL.

With SENEX, CURRENT VALUE delivers one half of his joint 11th and 12th albums as he explores his most experimental sonic leanings to both a further breadth and depth than ever before upon the METHLAB RECORDINGS label.

BOA is a new collaboration from Best Available Technology and Orvis Arum, this 12” is their debut release

The duo explore dub and classic UK bass vibes in heavy, desiccated forms, produced entirely across an array of analog gear

RIYL Vex’d, Andy Stott, Kahn, Cannibal Ox, K-Lone, DJ Normal, V.I.V.E.K., Old Apparatus

12” is backed with a humid, animated remix from Mosca that features various strands of BOA’s DNA from these two originals, as well as their forthcoming debut album Outer Gateways

The Venetians were formed in late 1982 as a studio concept band after Rik Swinn (lead vocalist) arrived in Sydney with master tapes of tracks he recorded in England with engineer/producer Vic Coopersmith-Heaven - It's Cat Stevens, The Rolling Stones, The Vapours & The Jam. - He also read a newspaper advert placed by two musicians who were looking for a lead singer.

Within weeks Swinn formed a touring band and enlisted David Skeet on guitar, bass guitar, synthesiser and vocals, and Peter Watson (ex-Scandal, Extractors) on guitar, bass guitar, synthesiser and vocals.
Drummer Tim Powles (ex-Ward 13) joined next and keyboardist Matthew Hughes (ex-Gotham City) completed the line up of the Venetians.

They released their first single, "Sound on Sound", in April 1983 - original copies of which go for upwards of £150 on Discogs.
This 12" includes the original plus remixes by Andrew Weatherall & Zatua (Music from Memory).

Wah Wah 45's are proud to present "Cages", the third album from southern soul boys The Milk. Having released "Favourite Worry", their critically acclaimed sophomore album and first for independent label Wah Wah 45's, in 2015, the band are able to trace the seeds of the latest LP back to their recording sessions with producer Paul Butler (Andrew Bird, Michael Kiwanuka, Nick Waterhouse) almost five years ago, blending elements of soul, funk and rock together to create their own unique sound, inspired by some of their favourite artists such as Bill Withers, Traffic and the Isley Brothers.

"I can't wait to hear you write songs that look outward" - these words from Paul subconsciously had a lasting impression on the band. To atone for more inward-looking sentiments on "Favourite Worry", there had to be a shift in perspective. During the formative stages of the new album The Milk started pursuing a Nichiren Buddhist practice. The values and principles they discovered during this have informed every aspect of the record.

"We wanted to write an album that looked outside of the walls, to people, society and the environment - embracing real freedom in musical expression by utilising more complex rhythmic structures, extended harmony and dissonance to paint an original and authentic-sounding record" explains If their debut, "Tales from the Thames Delta", was inspired by hedonism and "Favourite Worry" by introspection, "Cages" is an impassioned conversation with the world. Racism and division are all on the rise. British society is being pulled apart by forces that seek to divide us and rip the compassion and empathy from our minds and hearts. We have become distracted from the more urgent challenges of boundless consumerism, climate change, and the mental health emergency reeking havoc on our streets.

We are the birds in the cage, tied by cheap thrills and fake news to a limited world vision that is no longer fit for purpose. The good news? We can all choose to challenge this view. "Cages" is equal parts the dark black shadow of how far we've fallen and the blazing sunlight whose rays of hope can still change the world. Four life-long friends, Ricky Nunn (vocals), Mitch Ayling (drums) Luke Ayling (bass) and Dan Le Gresley (guitar) formed their first band when they were still at school in Essex, playing countless working men's clubs, and finally became The Milk.

The band have built up a following of dedicated fans around the UK, which has resulted in them selling out venues such as Scala, Koko and Shepherds Bush Empire. Keen to get back on the road where they feel most at home and where the guys really shine, the band offer up a compelling set of diverse styles, matched with an ability to effortlessly intertwine songs together, gives their music a continuous feel to it. Since signing to Wah Wah 45's, the band released their second album "Favourite Worry", which became one of BBC 6 Music's albums of the year, sold out London's Union Chapel, toured with the Fun Lovin' Criminals and completed a sell-out UK tour climaxing at London's KOKO in Camden town. ... More live dates coming very soon!

Mr. Collage’s debut solo album “Layers” takes a traditional Hip-Hop approach, utilizing samples as well as recorded instruments. “Layers” is a sonic painting consisting of dusty vinyl memories and future plane tickets. Funky beats and basslines, afro percussions and a second-hand synth are layered to complete the musical background of the album.

Is that all? Def not! The album features some very talented artists from the USA, Australia, Spain, Greece and Belgium. The rappers Nico The Beast, S Squair Blaq, Mic Bles and 1989TRE get funky on Collage’s beats and lady MC Amira Lacrima with her mellow raps gets into a story telling.

Soul comes strong in the album too with Lady EMZ cherishing life over a Northern Soul-inspired beat and Mantique spicing up the funkiness with her deep voice. Not to mention vocalist Lisa Spykers adding an extra R&B/Soul vibe by joining forces with 1989TRE.
On the wheels of steel, the IDA World Finalists - Fly Immigrants (DJ Mysterons and DJ Hypercutz) and the heavy artillery of scratching of Mind The Wax, DJ Moya take care of the scratches in the album.

Layers will be released on vinyl by label Mind The Wax in December 2019, and includes 11 tracks.

'Active Imagination' is a result of the bringing together of musicians for a day in the studio, with minimal rehearsal, to collectively experiment and improvise in the moment - in contrast to the more composed and structured recordings of the Paradox Ensemble album 'Awakening' from January 2019. All musicians contributed their distinctive individual voices, creating a united force of spiritual, freeform jazz. Each composition is based on a different mode, all with their own distinctive flavour: "So Long Chef" nod's to Coltrane with its chords jumping by major thirds, before a more static middle section,offering a chance for Walters and Jeff Guntren (tenor sax) to explore the Lydian mode."Ahimsa" is a meditative reflection and group improvisation, based around a simple theme in the mixolydian mode, resulting in a spiritual journey steered by Rebecca Nash's hypnotic piano solo. "Gordian Knot" was conceived as a vehicle for Ed Cawthorne (aka Tenderlonious) to cut loose on soprano sax in the phrygian mode, which he achieves with devastating effect, backed up by Nim Sadot's infectious bass hook and complimented by an equally striking trumpet solo from the band leader. Finally, "Dansoman Last Stop" uses the dorian mode to channel the spirit of a bustling travel interchange in southern Accra, Ghana, conceived further by another exquisite trumpet solo from Walters.

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

Andy Ash has been quietly sneaking out seriously good analogue-driven electronic music on some of the best underground labels for over a decade.

The Liverpool-based producer, DJ and visual artist (the artwork for this re- lease is Andy’s own oil on canvas) has graced the likes of Chicago’s Stilove4music, NYC’s On The Prowl, Sydney’s People Must Jam and has remixed Fantastic Man for Detroit label Kolour LTD amongst many others.

The bottom line is that he’s definitely one of the UK’s unsung heroes when it comes to deep, raw, Chicago and Detroit-influenced house music and we’re proud to welcome him to Delusions Of Grandeur with an amazing three tracker entitled the Bottleneck EP.

The title track opens with snappy hats, flappy congas and sloppy baseline all sitting perfectly in the mix and with a looseness that is much harder to achieve that it may seem. A simple synth melody doubles up the bassline while an extra square wave lead adds that little extra hook without distracting us from the bouncing groove. With Bottleneck, less is definitely more.

Flipping over we have Hump, an altogether darker affair with a twisting acid line joining distorted 808 drums and tripped-out snippets of spoken word coming in and out of focus. The low-slung bumpy groove and spacey synth parts make this a compelling warehouse track which will draw everyone into it’s seductive confines.

Closing the release we have Actual Price, a shuffling, deep groover with rumbling low end and machine-like analogue synth part skipping around the crunchy beats. A cerebral yet punchy and dynamic closer to an excellent release!

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

This time we'll treat you with a very special branded practical bag.
A small bag, to put inside small things, important things. Once you'll open it that little vinyl smell contained inside ("Air De Wax") will forever evaporate but you'll know that the bag will be forever useful!

Apparel Wax comes back after a long summer with another EP, the 7th of its catalogue and yet again another display of four different musical approaches brought together as one. The EP is, indeed, a 4 tracks one and starts off with a groovy execution of a classic house track, an archetypical and simple house tune with a defined personality and the perfect start, from square one. With 007A2 we start to shift the perspective to a more funky and tribal vibe with the help of the percussions, piano chords and simple bass and guitar lines to close an A side which is a modern view on something classical.

007B1 breaks in bringing an energetic overload since the first seconds with a heavy rhythmic section and keeps up the same pace throughout the whole track even when slowing down. Its insistent and slightly distorted hi hats, along with decisive piano chords helped by some well crafted vocal samples, take us all round this journey through a packed imaginary dance floor. Let's take the foot off the pedal for 007B2 which is instead the most desirable closing with it's smooth yet impactful sounds which create an ideal sunset mood to plunge into. So the sun sets on APLWAX007 and we hope you dig once more what the masked hero brought us this time around.

Joe Lucas creates music under a few monikers most often as Causa and notably has appeared on Tusk Wax, Boogie Box and Birdie.

The Causa sound elegantly touches on deep house grooves and melodic techno but with contemporary style and is an obvious choice for the Verdant family. The Locks EP is released as Sixtyone leaning towards Detroit flavours with intricate percussion layered with warm soulful keys.

Previous releases have attracted high profile remixes from Kuniyuki, Luv Jam and Young Marco and that trend continues. On the flip of The Locks Stojche provides a burly, peak time reshape of Zelo upping the Detroit vibes. Hiver's reshape of the delicate Tregnanton original adds a firm kick, swinging bassline and heady 303 sparkle with dazzling effectiveness.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

Releasing his first ever vinyl release 'El Sunset' on James Holden's, Border Community back in 2007, Chilean producer Ricardo Tobar has since been held in high regard by the seminal UK producer. Intricately constructing his way around the parameters of emotionally-lead, highly atmospheric electronic music, Ricardo has brought his sound forward to grace the rosters of Jennifer Cardini's, Correspondant, ESP Institute and MUSAR Recordings. Continuing to extend his already significant discography, he now returns to MUSAR Recordings for a third time with the 'After The Movie' EP.

Ricardo's 'After The Movie' EP forms a selection of cuts that have been held in his locker for quite some time. Uncovered by MUSAR Recordings label head, David on a podcast from way back, it seemed only natural that this unreleased music from Ricardo would find its home on the Amsterdam-Tel-Aviv label.

"This EP is quite special to me because it reflects a long timeline in my work. The 'After The Movie' track had been in the vault for ages until David from MUSAR found it in an old podcast; it really takes me back to those first steps in recording music." Ricardo Tobar

Across his EP, Ricardo plays with varying textures and arrangements that in turn provide a cross-section of his sound that has expanded and developed over time. 'After The Movie' presents the experimental ambience synonymous with his early works, whilst 'Parques' brings an idyllic, cinematic feel with strictly crafted synth arrangements riding high, post-rock influences also show through. 'Regain Your Power' represents a change of course, whilst also channeling a political message punctuated by social unrest taking place in Ricardo's home country, Chile. He abandons experimentalism in favour of tougher 4x4 elements, allowing his machines to run riot.

"The mixture of ideas and feelings on this EP have a politically charged spirit, as electronic music always does. A few weeks after I finished 'Regain Your Power' the whole Chilean social explosion took place with the same ideals I had in mind when recording the track." Ricardo Tobar

Stepping up on the remix is a pair whose names are etched into the history of UK electronic music, Andy Turner and Ed Handley a.k.a. Plaid. Reworking title track 'After The Movie', they produce an emotive, soundscape complete with droning basslines and ex-terrestrial flourishes.

Kicking off 2020 in style, Life And Death welcome Madrid based groove maker Bawrut for some of his distinctly off kilter brilliance.
Italy born Bawrut makes warm, heartfelt electronic music that crosses the musical spectrum, doing so with a true left of centre perspective. He imbues his productions with weird and wonderful sounds and an exquisite sense of craft that make them both unusual and engaging. He has done so on the likes of his own Silencio label as well as Ransom Note and PETS Recordings and has become a mainstay of the DJ circuit as a result. Next to high profile shows at places like Nuit Sonores he has also toured as far afield as Vietnam, and here he brings some worldly perspective to this latest for DJ Tennis’ always cultured label, Life And Death.
First up is 'Rollin'', almost ten minutes of synth based excellence that takes you on a real sonic adventure. The drums are firmly rooted and hypnotic while the various pads up top unfold like aural fireworks. It's a tense track that never lets up and keeps you locked for the epic duration. Equally fantastic is 'Terza' with its twisted, tortured synth lines and vocal yelps all bringing real drama to the deep and rolling drums. It's a turbulent track to bring real edginess to the club. Lastly, the grinding 'Drum Beat' has a menacing bassline and tribal vocal stabs cut up with rave sirens. It's a sweaty, strobe lit monster that takes you to the heart of the dance floor.
These are three perfectly slow-release but high impact tracks from this ever more vital talent.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

Dukwa is back with the second chapter of his own personal output with a new killer four tracker EP: first cut on A side is the stunning motor city anthem Akira, an epic soulful winner which reminds some of the best Inner City’s moments thanks to its catchy vocal parts and twisted up grooves. If you are more a fan of instrumental club tracks on the second cut instead you will find Akira’s dub version where drum parts , strings, its original wicked bass line and the romantic piano solo totally stand out!

We stuck in the Detroit with the raw jam of Violet opening the flip-side, a wonky lost brother of Strings of Life that through its original arrangement and a clever broken beat will be able to amaze any dance floor. Dukwa’s pinnacle of poetic and compositional intensity happens with the poignant combination of dramatic strings together with beautiful piano notes and acid tinged bass within the closing track Water. Timeless stuff and absolute burners to enrich your record collection.

Vinyl Only – Niko Maxen is back on Talman Records with his first full solo EP after his apperance on our Retro Future series. Three original tracks backed up with a bass heavy remix from Automatic Writting Artist Gab Jr. Don't sleep !

ALEX ATTIAS presents his new single featuring GEORGIA ANNE MULDROW on vocals and KID K playing soulful jazz keys . The track is simple and groovy , warm and soulful, exactly what Alex is into right now . Alex is very happy to have Georgia Anne Muldrow singing on an uptempo track and Kid K playing Rhodes , analog keys and moog bass. Theres also Cicco the percussion man laying great congas and percussions as well as Arthur Donnot young musician on sax giving the track a live jazz dimension.The B side is a dub instrumental to get the musical vibe of this track made with love . Another great release for Visions Recordings in 2019. Watch out for more goodies in the near future .

A truly special reissue of a fantastic and incredibly rare Afro-disco 12” from 1978, Tumblack - 'Caraiba/Invocation'. Originally released on the seminal French disco label Barclay, you'd be hard pressed to even find an original copy in the UK, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around.

Taking the A side of this EP Stefano Ritteri provides a “Spaziale Version” of 'Caraiba' that seamlessly blends elements of African, Afrobeat, Funk and Disco styles, with segments that continually morph and evolve into new tracks. Irresistibly funky and percussive drumming patterns and melodies hypnotise the listener, with only the occasional outbreak of African chanting breaking up the grooves.

The B-side contains the original version of “Invocation” that is effectively one long drum track broken down into 7 segments that never drop a beat alongside the original version of 'Caraiba' in all it's glory. As EP's go, this really does take the listener on a journey to Africa, via 1978 New York, and is a true one of a kind. And for all those sample-spotters out there, there's no end of complex drum patterns and basslines to dive into.

New Year, New Bobby. Caserta and trusty sidekick, Lucky Ry, get back in the saddle to present the sequel to the release that started it all, once again starting with a classic cut from the blue-eyed soul genius and turning it into a dance floor heater. Triumphant horns, warm bass, and thumping live drums come together to make up the 70’s mix, while LOUD DRUMS scream 80’s mix. Caserta and Co. once again provide two distinct mixes that are sure to set off any party.

ANNA drops a triple dose of heat to mark her first EP on Drumcode. ANNA first debuted on Drumcode with the irresistable groover ‘Portable Paradise’, which highlighted last year’s A-Sides Vol.7 and set up a busy year playing DC events in 2019.

There was the memorable morning set at Space during WMC, two fiery gigs at Drumcode Festival and typically strong performances at the DC takeover at Resistance in Ibiza and Sonar.

Fresh from her collaboration with Kittin ‘Forever Ravers’, she steps up for a maiden EP on Adam Beyer’s flaghship label. ‘Galactic Highways’ is propelled by an arresting peak-time riff and bombastic drums and was a storming addition to Beyer’s set at Drumcode Halloween recently.

‘Dimensions’ is the powerful brain scrambler, as a blistering wall of acid rubs shoulders with undulating bass notes for an dramatic finish. ‘Phase Two’ is a stirring, pad-laden beauty, driven by lustrous melody lines that cascade over the Brazilian’s punchy percussion.

It's the third album by drøne for Pomperipossa Records - Anna von Hausswolff's label. drøne is called 'Mark Van Hoen' and 'Mike Harding' - and for 'The Stilling', guest musicians include Charlie Campagna (Player for Cello & double bass), Katt Newlon (Also Cello) & Zachary Paul (Player of Violin). With the trademark drøne sounds of static, radio voices, field recordings, modular synths and found sounds, recording chance sounds right up to the final mix add to the dynamism and energy of the album.

Esteemed Berlin producer Santé, serves up a one-sided white label of bouncing minimal grooves in the form of ‘HOW’, maxing the techy glitches, crisp percussion and bumping bass whilst elevating it to mythical status with a timeless 80's vocal that’s bound to turn heads. Pure peaktime roller business, cop one before they’re gone!

Jay Clarke's masterful BLACKAXON imprint returns with a shapeshifting EP from Davide Piras.

What began as a sonic sketchbook for Clarke to express his expansive view of electronic music, is evolving. The label is opening up to artists who hold a shared passion for creating dynamic and interesting techno compositions, with a few surprises here and there. Following last October's superb contribution from rising talent Yant, experimental techno artist David Piras drops a quadruplet of cuts to join the BLACKAXON fold.

His BLACKAXON debut, "Beyond Our Reach", is a true all-rounder. It leads with the dusty slow bass monster "Radiation Belt", before the gritty electro noodlings of "Multipolar" enter the fore. The analogue-infused rave cut "System Cartesian" takes the EP into otherworldly realms, before atmosphere-heavy "Pangaea Heritage" closes out the work, evoking a hazy afterhours vibe.

"Davide's productions hold an air of Convextion about them, he's one of my favourite artists. I locked into that right away and knew I wanted to release his music. When I listen to Davide's tracks I feel as though I'm in the middle of a sci-fi movie, they're funky and futuristic tales from the deep. Amazing!" - Jay Clarke

This double 10" vinyl features some absolutely enormous remixes that are not to be missed! Hamilton (Dj Ham) steps up to the plate and delivers a blisteringly dark remix of an already dark tune. Tough and rough, this one has a bassline that shakes the speakers to death and is built to last in his customary RAM records style.
Abyss gives us a glorious old skool drum and bass remix, in line with the 1994 sound, full on amen cuts, heavy sines and deep atmospherics.
Lowercase and Psycangle move the whole track into early 90's Ruffneck Records / Malice territory, with a furious old skool gabber remix, hard as nails and noisy as hell.
But perhaps the best is saved for last, because Sunny & Deck Hussy do the near impossible and take a dark tune and flip it on its head, making it euphoric and deep without losing the essential character of the original.

Club / DJ Support
Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

Total Refreshment Centre is proud to present a brand new mini-LP from Neue Grafik Ensemble entitled 'Foulden Road'. French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a, CoOp Presents and Wolf Music.

His sound is a hybrid of jazz, house and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London sounds like broken beat & grime thrown into the mix. In his own words "this mini album has been conceived as a journey from Deptford to Dalston, right through Peckham. During a personal period of transition, I put this music forward at a crossroad of all my influences, taking the time to share and experiment with a band more than that, an ensemble. The idea is to incorporate musicians with their own sensibilities, collaborating together as a reflection of our society; unreal & rebellious, but with magic moments, and full of hope.

The best representation of that is Total Refreshment Centre. This building and its community were a perpetual source of inspiration for me over the past two years & gladly allowed the creation of this project". Having been first properly introduced to the community of the TRC during an after-hours jam, it came to TRC founder Lex Blondel's attention that New design had some exquisite compositions of his own. A few weeks later, it was decided that Neue Grafik would form a band and that they would do their first gig at TRC, a week after the first day of rehearsals. No pressure … Lex continued; "we paired him up with Emma-Jean Thackray, to arrange his compositions for a quartet, added Vels Trio's Dougal Taylor on drums, Matt Gedrych from MaddAddam on bass and Jordan Saintard on sax.

Then the band got to work…" Title track 'Foulden Road' commences the session in truly energetic fashion, named after the street in North London where TRC is based, and where these sessions were largely laid down. Keeping with the geographical vibe, next we have 'Dalston Junction', a two-part affair starting on a sci-fi boom-bap tip, before switching to the ethereal flute playing of Brussels musician Esinam, and the first outing on the collection for Brother Portrait.

'Voodoo Rain' is next, a sweet slice of afro-funk, featuring the incredible talents of London's own Nubya Garcia on sax, and the tempo picks up once again for 'Something Is Missing' - this live version comes from the afore-mentioned infamous first gig at TRC.

The goosebump-enducing vocals of Melbourne soulstress, Allysha Joy, set off the second half of the record with the beautiful downtempo track 'Hotel Laplace', recorded at a live session at Giant Steps, before kicking the energy levels back up with 'Hedgehog's Dilemma', once again featuring the vocals of Brother Portrait, as does the closing track, 'Dedicated to Marie Paule', a mid-tempo piece akin to 90's golden era jazz-hop, bringing the set to its conclusion.

This collection of tracks reflect the many moods and various genres indicative of Neue's creative approach illustrated above.

To be released December 2019 four tracks of divers styles from 2004 till 2019 are gather on this release by istari lasterfahrer.

"One Billion Suckers" is a vicious hardcore tune collaborating with dancehall riddims. followed up by some old school jungle breakcore slammer with granulare glitches vocals and 90ies piano hook from the past. the b side starts with „rave like tiller boys & girls“ on the more playfull side of heavy baseline driven four to the floor breaks. for the end of the plate „fucked up in the brain“ smoothes down the average pace of 195bpm of this release to 140bpm with a bass tune. this release comes in a full color cover and is hand numbered an limited to 250 copies.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Ecke Records returns with its fourth release this November, the four-track ‘Grit’ EP coming courtesy of Xantrax with a remix from Addison Groove.

Taking the lead is ‘Tekline’, a murky, unfurling cut fuelled by off-kilter tribal drum work, bubbling bass delays and modulating synth flutters. Addison Groove steps up next on remix duties, reshaping ‘Tekline’ with choppy vocal cuts, dubbed out chord stabs and organic percussion floating atop the originals hypnotic groove.

‘Linetek’ opens the flip, as the name would suggest acting as a counterpart to the lead track, taking a 4/4 approach rhythmically while introducing a similar modulating bass line alongside chanting vocals.

‘0121’ then rounds out the package, an angsty, dynamically unfolding composition laid out over four and a half minutes with droplet synth delays, heady bass swells, spoken word vocals and crunchy broken drums.

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

Sauce Combo is a powerful and dynamic jazz trio lead by Marcjean, saxophonist from Bestown (Besançon), sided by the mercenary drummer Tom Moretti and the melodious
Victor Pierrel on bass. The trio's music takes place in the modern jazz renewing coming especially from England and the USA. France has now a champion. Inspirated by vintage african and west indies jazz, 70's jazz funk and fusion but also 90's drum & bass, broken beat and hip hop, the repertoire is a rich jazz bomb exploding to the
ears. Each second brings its his new colorful burst to admire. The band's brilliant game makes it a living listening experience. The music is rich and versatile but cohesive and united. Why?
Crash Test came to light in one day during a single 7 hours recording session at the Honey For Bear laboratories. Arnaud Bataillard, the sound's engineer, wanted to try several new
tubes and audio gears added in his studio set up. The trio went to test it in a crash test session. All the recordings could have been compromise somewhere but... What was before planned as a try ended into a fantastic album. The mental disposition, while playing
when you know that all can be lost in a minute, gave the musicians the proper dimension to express their feelings in a total freedom. They were playing for pleasure and without any pressure. It was for all, but it could have been also for nothing. And we can literally feel that. This unique record had to be release as soon as possible to transmit the freshness of this beautiful impact to the listeners. Above all, Clément Laurentin's "Equilibre Précaire VI" achieves this album, offering a painting with four figures at the edge of the fall, in a constant imbalance, playing with time and gravity. It's the perfect allegory for the three band's members plus the engineer while making this record.

They Say: “Composite themes and incidental cues for dramatic application”.

We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like Beat Incidental, this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

The Hunter (Drama Suite) / Adventure Story is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

As with all of our KPM re-issues, the audio for The Hunter (Drama Suite) / Adventure Story comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

They Say: “Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style”.

We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

“Beautiful, beautiful. Magnificent desolation.”
(Buzz Aldrin’s first words when he joined Armstrong on the surface of the moon) Now that the world has come to a standstill please let us guide your attention towards this special 12”. Round and ever-turning like the moon, it rests on the record player. Move the tonearm and the disc will ooze strangely comforting tones.
Exuberant, yet melancholic at the same time.
RSS Disco have created a psychedelic, blissful jam that moves currents & constantly changes shape. Meandering voices inhabit the sphere, a pumping bassline secures the foundation. The warp core is frail at this power level but seems to be holding up.
Frequencies unravel, the bridge heats up. This must be fairy dust made of moon rocks.
On the dark side of the moon, we find ?Aera (Permanent Vacation, Innervisions) ?with his signature arp-fest. Elevating the original track form the surface to the stars, we have left home and there is no intention of ever coming back.

DJ Mad A (Adam Embleton) & Dr. Stevie The Ambient Guru (Stevie Hewitt) originally met when Adam picked up the Saturday shift at 'Record Mart', a record store run by Stevie back in the late 80's. They quickly bonded over shared tastes and enthusiasm for the growing dance club culture in England.

'Balearic Beat' had arrived from Ibiza, house music was taking over, and clubs were pushing boundaries, encouraging DJs to experiment with the dancefloor. Stevie was a regular selector at classic venues like 'Club Havana' and 'Flixx', where he blended house, electro & techno for the loaded English youth. Adam had signed to Island records, at 17, the first signee for newly appointed A&R rep Darcus Beese. Their collaborations in the Island studio is where the early 'Mad A' production techniques were cultivated.

With Adam behind the programming and Stevie on guitar, the two assembled a few songs to add to their explorative DJ sets. They printed a white label tiny pressing of 'The Mad Vibe', four tracks, "sending out waves that shock", their sound was a frantic blend of electro and house. The E.P. sold out fast locally, with their tune, 'Levitating Pharaohs' catching the attention of Drum 'n' Bass duo 'Spring Heel Jack' and labels like Mo'wax. As the 90's rolled on, the two continued to DJ as residents at clubs like Corner House, Brody's, Arena & Dickens.

Smiling C 2019 repress of this cult 12". Remastered and housed in a die-cut 12" jacket with pharaoh's head sticker.

"Play The Trax. Feel The Vibes. Mad as....."

“Osondi owendi. What is cherished by some is despised by others. One man’s meat is another man’s poison. Different strokes for different folks. To each their own. Osondi owendi.

It’s a conventional aphorism in the Igbo language but if you utter the word “osondi owendi” in Nigeria today, the first thing that comes to anybody’s mind is the cucumber-cool highlife music maestro Chief Stephen Osita Osadebe and his legendary album that takes its name from the adage. Released in 1984, Osondi Owendi was instantly received as Osadebe’s magnum opus, the crowning event of an exalted career stretching back to the early years of highlife’s emergence as Nigeria’s predominant popular music.

Stephen Osadebe first appeared on the music scene in 1958 as a spry, twenty-two year-old vocalist in the Empire Rhythm Skies Orchestra, directed by bandleader Steven Amechi. With his dapper suits, urbane Nat King Cole-influenced vocal stylings and jaunty, uptempo, calypso-scented dance tunes, he personified the frisky spirit and anxious aspirations of a young, educated generation that had come of age in the wake of the Second World War, in a Nigeria that was rapidly shaking off British colonization and marching towards an independent future. 1959 would be the year that he truly made his mark in the business with his debut solo single “Lagos Life Na So So Enjoyment.” A giddy exhortation of the music, sex, fun and freedom availed by life in the big city, the song became a sensation and an anthem, and Stephen Osadebe became the leader of his own popular dance band, the Nigerian Sound Makers.

Osadebe would ride this wave of acclaim through most of the nineteen sixties, but a change in direction would be called for at the dawn of the seventies. As Nigeria emerged from a devastating civil war, so did a new generation of youth inspired by rock and funk, confrontational sounds reflective of a more violent, less idealistic era. All of the sudden, the idioms of the post-WWII dance orchestras that nurtured Osadebe’s cohort seemed quaint, the stuff of nostalgia. Osadebe needed to evolve to respond to the new tumultuous, turned-up times.

His response? He cooled it down.

Abetted by a new crop of fire-blooded young players, Osadebe slowed his music to a mellow, meditative tempo, brought forward the lumbering, Afro Cuban-accented bass and percussion, from the rockers he borrowed searing lead lines on the electric guitar. Over this musical bedrock, doesn’t so much as sing as he dreamily muses, coos, sighs aphorisms, words of wisdom and inspiration. “When one listens to my music, all I say appears meaningful,” Osadebe explained his lyrical approach, “at times they are in the form of proverbs which provoke much thought afterwards.” The result is a blend that is both rollicking and soothingly languid. Osadebe christened the style Oyolima—a tranquil, otherworldly state of total relaxation and pleasure. Osondi Owendi represents oyolima at its finest, and possibly Nigerian highlife in epitome.

Osondi owendi. What is cherished by some is despised by others. In some way, the album’s title constitutes a paradox. Because Osondi Owendi is a record that it’s almost impossible to imagine being despised by anybody."

Remastered and reissued for the first time since their original release, AOTN are proud to present three classic cover versions from the lovers rock era. Al Charles' take on the Gap Band's 'Outstanding' is a full of swagger outing that takes all the sweetest of their melodies and gives it some added bass pressure for the dancefloor.

Tough to track down previously, the Sonia version of 'Easier To Love' was always a favourite amongst lovers fans. After getting a spin on Sam Floating Point's NTS show, its popularity soared and any remaining copies were quickly hoovered up. The final release brings together two of the finest lovers singers to ever duet, the late Jean Adebambo and Trevor Walters, covering Roberta Flack & Donny Hathaway's 'Back Together Again'.

The first press of the 12 comes in a printed AOTN sleeve which is a respectful tip of the hat to the OG dub vendor disco sleeve that many of these original 12s were distributed in.