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In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

Dave Stewart und Annie Lennox vermischten auf ihrem vierten Studioalbum Be Yourself Tonight' (1985) härtere Rock-Elemente und R&B-Passagen mit ihrem etablierten Synthie-Sound. Als Gastmusiker sind mit an Bord: Aretha Franklin (auf Sisters Are Doin' It for Themselves'), Stevie Wonder an der Mundharmonika (auf There Must Be an Angel (Playing with My Heart)', dem ersten Nummer-Eins-Hit der Band in den USA) und Elvis Costello, der Adrian' im Duett mit Annie Lennox singt.
Die erste Singleauskopplung Would I Lie to You?', auf der sich laut dem Rolling Stone der Rocksound der Kinks mit dem R&B-Feeling der Supremes paarte', war ein Riesenerfolg in den Staaten. Die vierte Single It's Alright (Baby's Coming Back)' wiederum rief Erinnerungen an eine berühmte britische Sängerin der 60er Jahre wach - an Dusty Springfield und ihr Album Dusty in Memphis'.

From A Formidable Connection Between Pasadena (los Angeles, Usa) And Osaka (japan), Kay Bee & Kzyboost Bring Us The Funk In A New Wonderfull Way.
Talkbox, Voices, Synths, Leads, Guitars & Strong Groovy Bass Lines Under The Big Influence Of Modern Funk & P-funk.
With Exceptional Collaboration Of Dr. Evo On The Bass For The Song "feel Da Funk", This 7" Vinyl Is A Trip Into The Real Funk Galaxy.

Five Years After "privileged Life" Was Released P.h.o.r.k. Is Back At It For Opal With Four Hypercolour Tracks Referencing French House, Jit, Uk Funky And All Manner Of Hypnotic, Percussive Goodness.

Opener "my Love" Inverts A Super Tight Duelling Loop Of Voices Against An Increasingly Staggered And Glitched Line Throwing Dancefloors Off Balance Like Cassius With A Head Injury. Title Track "no Afterlife" Sits On A Jerking Snare Pattern While Air Vents Open To Release Plumes Of Steam, Urban Fields And Angelic Drone In A 7-minute Ride.

"get That One Note Jam" Has A Clue In Said Title. The Tracks Bounces Forward On A Super Simple Riff While Modular Percussion Pick Out Spaces In Between. The Track Slow Blends Into Resonating Alloys Of Cyber-kora Offset With Reload Clicks And Abrupt Restarts. The Ep Closes On "love Recirculation' A Cartoon-ish Barrage Of Wooden Perc Just Keeps On Pushing While Synths Wow And Moan All Over The Shop. Killer Minimal Funk Throughout That Is Sure To Build A Smile.

Franco Micalizzi CHI SEI(Four Flies Records - FLIES 17)

LP 180gr. Limited Edition 500 copies

liner notes byALFONSO CARRILLO (Rendezvous, LA)

lettering & artwork restoration byLUCA BARCELLONA

Considered one of the finest and most successful works composed by Franco Micalizzi. A 500 limited-edition LP which includes two tracks never before released on vinyl, a reworked painted lettering title designed by Luca Barcellona, and extensive liner notes by Los Angeles'RendezvousDJ/film event founder, and Four Flies collaborator, Alfonso Carrillo: "A film score that was quite unheard of in horror - a funk and disco-tinged soundtrack, with a sound reminiscent of a blaxploitation film. Director Ovidio Assonitis'Chi sei(1974, American title:Beyond the Door) offered horror fans both a familiar sto- ryline and a stylistically unusual score. Recorded in the States, and using American session musicians, Micalizzi created one of horror's most unique soundtracks. He utili- zes soulful lead vocals (sung by Warren Wilson) along with sax and synthesizer, both of which are featured prominently on the score. Along with superb percussion work, this soundtrack features virtuosic musicianship by top session players and easily stands up to the test of time. This was an early foray into the world of soulful funk and an early in- dication of future-funk to come from the maestro". Alfonso Carrillo (Rendezvous, LA)

Super Trio From New York, Los Angeles & Charleroi! Single Taken From Their Long-awaited Second Album To Be Released In May 2018 On Badasonic Records!

From the church to the library, it's now time for 'A Sweet Excursion', courtesy of our favourite French funkateers, DJ Soulist & Fulgeance aka Souleance, offering up three tasty edits to feed the dancefloor.

'Fantasie' opens the set with an idyllically relentless rhodes-riff riding a slice of sugary boogie, with a super squelchy bassline and a healthy layer of disco percussion spread on top, for those with a sweet tooth.

The righteous horns of 'Lord' blaze into play next accompanied by a 4/4 disco kick, before the sugar rush kicks in and the band let loose an almighty groove. Even a soulful set of angels begin to sing, guaranteeing this one will bring out a lil' bit of that holy ghost within.

We end out with 'Funkin' which does exactly what it says on the tin. A solid five minutes-plus of delectable heads-down funk containing all the right ingredients, and the French duo's own special sauce mixed into the pot for good measure.

With a decades worth of collaboration behind them, and persistent party rocking at festivals and clubs, Souleance continue to create tried & tested moments of sweetness on dancefloors across the globe. This three-tracker is no exception, and makes this another essential one for the record bags.

'A Sweet Excursion' is released on Excursions on Friday 29th June 2018 on limited three-track vinyl 12" only.

Das vierte Studioalbum von Florence + The Machine, - High As Hope', führt Florence Welch musikalisch auf neues Gebiet, aber ebenso zu den Wurzeln zurück. Sie schrieb das Album in ihrer Heimatstadt London, wo sie ihr neustes Werk auch aufnahm. Sie nahm die Songs mit nach Los Angeles zu ihrem Freund Emile Haynie, mit dem Florence das Album erstmals co-produzierte. Danach mischte sie das Album in New York ab, wo die Aussicht auf die legendäre Skyline - oft im Kontrast zum Chaos in der Welt zum Albumtitel - High As Hope' inspirierte. Das Ergebnis ist der Sound einer Künstlerin, die sich ihrer sicherer und bewusster erscheint als je zuvor

Second Circle is proud to announce it's tenth release to date with a new EP from L.A. producer Benedek. 'Earlyman Dance' was recorded at Benedek's studio in Koreatown, Los Angeles and fuses mechanistic rhythms and synth work as well as live percussion and trumpet played by friends Chris Parise and Anthony Calonico.
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With five vibed out compositions of coyote jazz, dance floor fusion and canyon bangers, 'Earlyman Dance' is an ode to the urban and natural landscapes of LA, late night noir and early morning sunrises, accented with Benedek's signature chord progressions, bouncing bass lines, meticulous drum programming and dubbed out trumpet.

As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.

The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.

'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.

'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.

We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.

WHITE RING mark a triumphant return with a brand new full-length Gate Of Grief, due out on Rocket Girl on 22 June 2018. Their debut album arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe. Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. One of the most acclaimed proponents of the "Witch House" movement, WHITE RING blend heavy, distorted electronics with eerie, unsettling vocals. However, their new material, created over the course of seven years, pushes the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix. As Bryan Kurkimilis explains; 'We treat our influences like tools to create a certain feeling. We are interested in covering more ground than sticking to a certain formula.'
Bryan and Kendra originally met on Myspace in 2006. At the time Bryan lived in New Orleans and Kendra was in New York, and they didn't even meet face-to-face until 2008 after they had already released a few singles. In 2010 they released the EP Black Earth That Made Me, which was a collection of songs that they mostly recorded before they met in person. The record confounded expectations by selling out immediately on pre-order, making it very rare and highly sought after, with copies going on Ebay for large sums. It was reissued by Rocket Girl in 2011 and still continues to sell in voluminous amounts.

They started playing live in 2009 and rapidly grew a reputation for their captivating performances, usually bringing their own lighting equipment and putting on a spectacular laser show. They have played for large crowds in their hometown of NYC and toured the UK in 2010 in support of their sold out split 7" with oOoOO, playing InTheCity and SWN festivals - which were their first shows outside of New York. They have since shared the stage with the likes of Cold Cave, araabMUZIK, Liturgy, Blank Dogs, Gatekeeper, Blondes, oOoOO, Clams Casino, and others.  
They started recording Gate Of Grief in 2010, with the hope of exploring new musical territory, however they took a while to find their path. Bryan and Kendra had some tough personal battles to fight, a sense that pervades the whole album. Thematically it delves in to some pretty dark places whilst exploring the concept of time and what it does to people, relationships and society. As Bryan explains; 'There is a lot of tragedy in this album but there is also hope at the end of it.'
By 2016 pressure was building to finish recording, however due to Kendra's ill health, they needed to bring in someone new to assist with vocals. Fortunately they found Adina Viarengo, who had played in various bands and gave them the impetus needed to complete the album. Shortly after meeting in Brooklyn, Bryan and Adina moved to Joshua Tree, California to finish recording the album, before settling in Massachusetts. Her vocal style fitted in seamlessly with what Kendra had been doing, and although she sang on half the songs, it's almost impossible to tell who is singing on which track, thus making her the perfect addition to the band.
Gate of Grief can be considered the second part of Black Earth That Made Me, or rather, they are the first two chapters in an overarching trilogy about evolution. As Bryan explains; 'First you are born but then you realize what you are and what is against you and it's a flood of emotion that you can only hope to hold on for and let it pass.'
The album title, Gate of Grief, refers to the real gate between Africa and Saudi Arabia that is believed to be the spot where the first humans migrated out of Africa and went on to populate the rest of the world. The album art ties in with this concept, with an image depicting a group of settlers in the USA in early 1900 during a parade. They were actually from a cult in the early 1900s in Bryan's hometown of Fort Myers, Florida.













M 13) Burn It Down

Debütalbum des britisch-nigerianischen Electronic-Produzenten und Singer/Songwriters Tony Njoku, ein Globetrotter, aufgewachsen zwischen Lagos und London, dessen bewegende Klangbilder aus den kürzesten Popsongs epische Abenteuer machen. Vocal-Club-Beats für Ästhetiker. "Exciting blends of African percussion, falsetto croons and dark synths." - Fact. "Fusing abstract beats with his angelic tones." - Mojo. "Expansive electronics flirting with psych and soul." - Clash.

Officially reissued at last! Considered by many to be a genuine 'holy grail' of soul & funk. Featuring 'Miracles' as sampled by Public Enemy, Basement Jaxx, Arrested Development and many more.

Originally from Compton, Los Angeles, the Jackson Sisters were one-hit wonders who briefly shone and made some noise in the early 1970s before quickly fading into obscurity. Their only US chart entry was 'I Believe In Miracles,' a funky slice of bubblegum soul with a catchy, sing-along chorus released on the Prophesy label that briefly saw them make the lower reaches of the R&B charts in September 1973.

Enigmatic producer Waxwood has a genuinely global outlook. Born in Russia, resident in Brooklyn and a regular visitor to Los Angeles, he can often be found jetting off to far-fung parts of the World in order to make feld recordings and immerse himself in different musical cultures.
You can hear these disparate global infuences and inspirations in
Waxwood's frst single for Claremont 56, which comes on the back of a near legendary 2015 cassette for NYC's Styles
Upon Styles, Sahasraha, which magically fused tropical hand
percussion and densely layered feld recordings with lilting ambient chords, hypnotic electronic rhythms and all manner of intoxicating
aural fourishes. 'Kama' is a slightly different beast from its' predecessor, with a sunny disposition and laidback breeziness throughout. Although underpinned
by a sturdy kick-drum pattern, its chiming melodies and metallic
percussion fourishes - reminiscent of indigenous music from far-
fung nations such as Malaysia and Indonesia - combine with gentle acoustic guitar motifs and waves of acid-esque electronics to create a beguiling and life-affrming mood. It offers more proof that Waxwood is a producer with a unique musical vision. The track's inherent gentle breeziness is explored in greater detail on the accompanying remix, which has been provided by Phantom Island regulars Fuga Ronto (AKA Swiss musicians/producers Ron Shiller and Tobi Schweizer). Riffng on Waxwood's original, they've added superb new vocals and instrumentation - think dreamy harmonies, tumbling synthesizer melodies and mesmerizing guitar parts - to create a sunset-friendly Balearic revision that's both stunningly beautiful and dazzlingly sun-kissed.

The War On Drugs announce their fourth full-length album, A Deeper Understanding, out August 25th on Atlantic Records. A Deeper Understanding is the band's first album since 2014's universally acclaimed Lost In The Dream, and their debut album with Atlantic. Following the Record Store Day release of the 11-minute Thinking of a Place,' The War On Drugs present the album's lead single, Holding On.'

For much of the three and a half year period since the release of Lost In The Dream, The War On Drugs' frontman, Adam Granduciel, led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker—but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today's modern landscape. Calling on his bandmates - bassist Dave Hartley, keyboarding Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez -- continuously throughout the process, the result is a band record' in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration and exuberance, Granduciel's gritty love of his craft succeeded in pushing the band to great heights.

Presenting 'Envelope'. Album written, produced & mixed by Milan W. and pressed on 180g vinyl, by Ekster. Coming out on the 6th of June 2018, with foil-stamped cover-drawing by Gerard Herman. Mastered & cut by Helmut Erler at Dubplates & Mastering.
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Milan W (AKA Milan Warmoeskerken) is an Antwerp-based musician. In 2015 he released the Slo Mo cassette, on local label JJ Funhouse. The Intact LP a year later. Compositions constructed from gentle, yet persistent, rhythms. Intricately textured downtempo echoes. Brain-dancing, rather than four-to-the-floor raving. 2017`s split with Ekolalis, for The Hague`s BAKK, made clear the direction Milan`s headed in. His contribution being a seventeen minute float. The kick largely removed. The textures cut-up, expanded and magnified. Envelope, for Ekster, builds on this work.

The harlequin turns the handle. The contraption sucks in air, and breathes. Blows out tone poems. Wordless ballads that soundtrack enchanted scenarios. Issues forth magic. A sorcerer`s apprentice casting its spell. Animating the inanimate. To everything a life. Sets the frozen fluttering. Pirouetting in red shoes. Illuminates what was dark. Astma sings a Gamelan lullaby. Summons comforting angels to a post-Industrial landscape. Glaasjes has Jazz ghosts inhabit an empty bar room. Spirits stealing excuse-me`s under its deserted spot. In Limbo amplifies their whispers. Lead soldiers court jewellery-box ballerinas behind shuttered shop fronts. On Heraldic Snippets, a tin infantry marches. Ten thousand men up to the top, and back down again. Keys make-believing that they are massed brass and fife.

The bellows pump, and the pipes all the while wheezing. An automaton philharmonic at the bidding of a steam-punk master. Analogue and digital. Clockwork and glitch. Malady finds sounds isolated, extrapolated, mutated. Orchestral`s organ-grinder moves with urgency, and alchemy. Spinning straw into gold. Snare rolls become bubbling mercury. Metallic, yet fluid. Racing at the speed of flight and escape. Slope is the music of water chasing through crystal caves. Slow Runner, a funeral crawl. Shoved into motion by a drama of strings remembered.
Like the charismatic Rat-Catcher of Hamelin, the harlequin turns the handle, and we bang the cup.

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

Recorded in Philadelphia in 1969, The Deirdre Wilson Tabac's sole album is a beautiful blend of funk, jazz and soulful pop. Possessing the complex grooves, thrilling breaks and ethereal weirdness that The Rotary Connection pedalled so brilliantly, the LP failed to connect with audiences upon its original release.

In the decades since, it has deservedly attracted a considerable cult following. However, almost inevitably, it has become increasingly tricky to pick up a copy in good condition for anything less than eye-watering sums. As such, we're delighted to present the first officially licensed vinyl reissue of this undoubted masterpiece of freaky funk-rock, limited to just 500 copies.

The Tabac were, in fact, a trio. Discovered, managed and produced by Svengali Sonny Casella (who'd earlier managed garage band The Magic Mushrooms), they comprised Deirdre Wilson, Stu Freeman (formerly of said Mushrooms) and Barbara Payne (formerly with the James Brown Revue). They were backed by session players including jazz guitarist Chuck Anderson, bassist Hugh McDonald and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman).

Their first single coupled two fine Casella compositions, each featuring powerhouse vocal workouts, the supremely funk-fuelled blues beat of "The Other Side Of Life" and the psychedelic-flavoured "Look In My Face" - both of which are featured here. This 7" picked enough up airplay to merit an album, which duly appeared early the following year, but, as is often the way with these lost classics, it received barely any press. Correspondingly, sales where low and the trio didn't last long.

And herein lies the real tragedy. The rest of the LP deserves to be heard from start-to-finish - it's that good. A beguiling mix of funky folk and rocky jazz tracks, with some deep, string-drenched harmony soul ballads and a handful of remarkable covers elegantly presented througout. Indeed, they put some sauntered head-nod funk into The Beatles' "Get Back" whilst tearing through a version of "Sittin' On The Dock Of The Bay" which gives Otis' original a real run for its money.

But the real standout cut for most - with its soulful, haunting vocals, swinging hammond organ and stabbing horns, is the incredible 6/8 time jazz dancer "I Can't Keep From Cryin' Sometimes." Staggering.

Since his 2015 Night School debut E.P. Nouveauree, James Donadio - aka Prostitutes - has been traveling stages and rigs from Los Angeles to Berlin, from prestigious festival slots to slimy Glasgow basements, burning his own path through the modern techno and electronic scenes. On Aluminum Garage, Donadio is at his most playful, laying down unmistakably mid-tempo BPM early-electro jams indebted to early sampling before crashing the soundsystem with frantic, detourned Gabber. Unlike his previous LP for Spectrum Spools or indeed his Night School debut which rankled with austerity and minimalism, here Prostitutes is instinctive, multi-layered and unashamedly, brilliantly borrowing from myriad genres.

In past 3 years, Donadio has racked up critically praised releases on labels like Diagonal and CGI, refining his wares into a precise, bludgeoning toolkit that surprises and develops with each release. Aluminum Garage creeps into life with Born Wanderer, before a sub-heavy kick and bongo pattern blasts into a heavy break that feels like the earth moving from under your feet. With the utmost clarity, the track builds disparate layers - a white noise solo, warped sample piano chords straight from 1986 - into a Rave-o-matic climax, holding steady with the BPMs and immeasurably funky. Jah Elegant further blows apart any image we have of Prostitutes' music as austere' with a loping intro based on teased drum samples and a ghost MC. The Jungle break comes in by stealth before the heavy drop blasts the music into Drum + Bass momentum. It's both blistering fun and undeniably cheeky, a driving track that cuts up Remarc on a dimly lit table in suburban Ohio.

On Side 2, Errant Seagull takes the genre mess into techno territory though put through a heavily distorted grinder. Built around a skeleton of sampled bass guitar and thumping kick, the track layers drums upon drums, building in saturation until a searing synth strafes the criss-crossing rhythms. The effect is dizzying, insuring both a propellant, heavy forward motion and a grimey, angst-ridden climax. Before we're at the end of the track, the stereo field is so filthy with distortion and analogue muck the listener is desperate for a palette cleanser. Final track Shroud of Cellophane however, doesn't let up. With a ramped up BPM we're in a Cyberpunk Gabber club, nothing but 160 beats per minute, layers of frequency-tweaked noise and the light at the end of the tunnel racing towards us. It's sweet oblivion and we've earned it.

Ark Angel Jah Mel is a recording artist, songwriter and musician from Jamaica. Beginning his career as a performer on the stage shows of the Twelve Tribes Of Israel of which he has been a member since his youth, Jah Mel made his debut sharing the stage with artists such as Dennis Brown, Bob Marley, Freddie McGregor, Sugar Minott, Brigadier Jerry & Denroy Morgan. His writing credits include songs written for Marcia Griffiths, Cecile, DaVille, Itana & Jah Mali, for whom he also produced tracks on his debut album El Shaddai. Jah Mel has worked with all of Jamaica's top producers & musician in Jamaica such as the great Sly & Robbie, Steely & Cleevie, Earl Chinna Smith, Steve 'Lenky' Marsden & Donovan Germaine to who's Penthouse label Jahmel was signed.

Jah Mel sees himself as a musical bridge between the original reggae sound & the dancehall sound of today, representing what he calls the real dancehall revolution, merging the spirituality of the old school & the energy of the new school. 'Guiding Star' and 'Stand Up To It' are the perfect examples to overstand this definition. Both song were produced by Roydale Anderson aka Andy's. 'Guding Star' will definitely give you thrills if you are into
deep synth and heavy digital rhythm while the superb piano notes will warm you in the analog style. Beware of 'Guiding Star' dub version called 'Guidance (Dance Mix)' that will break any bunker. 'Stand Up To It' rhythm is an adaptation of one of the most classic Jamaican riddim called 'Heavenless'. You will never know this riddim like before; This version takes the riddim to another level. A positive song with a bionic nuclear bomb
dubwise! Play it loud, Jah is our guiding star!