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Y2K! is a sugar rush of playful sensuality and unbothered cool—a true representation of the Bronx baddie herself. Ice Spice, born on January 1st, 2000, brings the Y2K vibes and undeniable beats that will make you want to party like it's 2000, before you had to worry about your late-night social media going viral. Ice Spice lives up to her name, bringing straight fire to your speakers this season.

Y2K! is a sugar rush of playful sensuality and unbothered cool—a true representation of the Bronx baddie herself. Ice Spice, born on January 1st, 2000, brings the Y2K vibes and undeniable beats that will make you want to party like it's 2000, before you had to worry about your late-night social media going viral. Ice Spice lives up to her name, bringing straight fire to your speakers this season.

For over a decade, COHN has been crafting his unique blend of house music. The DJ and producer, from London, combines crisp beats and rich synth lines to ignite speakers and dancefloors with his disco and Italo-infused creations. Now, he arrives at Bordello with a new EP, “Kafka in the Sheets”, featuring four tracks.

The EP kicks off with “Margiela in the Streets”. Driven by a steady snare and a pulsating arpeggiator, a soaring melody of analogue arcs sails skyward.“Balearic Sun” awakens the listener with birdsong and bongos. A relaxing, revitalising and re-energising experience, guiding hearts and minds through an audio oasis of light wind instruments and soothing samples.

The energy ramps up with the powerful “Uptown and Queens”. A HI-NRG-inspired rhythm is set to a steady march, delivering a workout of wry smiles and bold builds. The EP concludes with “Let’s Groove On,” a track that welcomes the dawn. Classic hi-hats and toms are garnished with a low whistle while juddering vocals push the track forward, making it the perfect last dance before sunrise.

Limted version on 2LP transparent violet vinyl in gatefold sleeve, 300 copies! ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.



'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with HONEY (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, STUFF. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like ECHT!, Stellar Legions and TUKAN. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3:
"Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

Repress!

It's five years since we first released Yosi Horikawa's 'Vapor' album. To commemorate the occassion, we're releasing the album on vinyl for the very first time, also including a previously unreleased bonus track, 'Yoggo'.

The devil is in the details. And Yosi Horikawa understands this perhaps better than most musicians from his generation, crafting compositions with broad appeal that also withstand the most intricate scrutiny. Originality has always been a rare currency in the creative arts, and having honed his voice over the years Yosi has plenty of it to give to those willing to listen.

The RBMA graduate has collaborated with artists such as Jesse Boykins III, Dorian Concept & Daisuke Tanabe, performed at Glastonbury, Sónar, Mutek, Dimensions, Low End Theory, Ninja Tune's Solid Steel & Boiler Room, featured in Time Out Tokyo, XLR8R, Dummy & more, and received acclaim and support from the likes of Benji B, Tom Ravenscroft, Fulgeance, DJ Food and Gilles Peterson, with whom he has worked with on several projects since the release of 'Vapor', for Brownswood, Worldwide Festival & Worldwide FM respectively, producing a regular feature, 'Soundscape with Yosi Horikawa'.

Besides writing and producing music, Yosi is a highly skilled sound engineer, working with prestigious architects, fashion brands, and technology firms as well as designing speakers for bars and clubs. He's also composed numerous jingles and theme songs for radio stations to science exhibitions. Such is his diversity and originality, he was the subject of an RBMA film documentary in 2014, 'Layered Memories'.

Following his debut EP on Eklektik Records, two EPs were released on First Word prior to this, his debut album, 'Vapor'. 17 tracks from the Japanese sound designer and producer that weave together diverse field recordings and sample sources, with rhythms and melodies, creating something that defies stylistic boxing. Echoes of dance music, hip hop and musique concrete can all be found amid the sounds of nature and everyday life that underpin the grooves of the music. 'Vapor' is an album in the old-fashioned sense, a tightly-woven sonic journey that benefits from repeat listens.

'Vapor' was named amongst 2013 Albums of the Year lists in Fact Magazine and The Japan Times.

"A sonic masterpiece and an entirely new pathway in to the matrix of emerging electronic creativity. Every piece on the album sounds boundless and full of texture & colour imaginable"

Earmilk: "A serendipitous mishmash of electronic, hip hop beats, and a litany of genres that fall in that spectrum with a liberal dose of acoustic magic

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

Considered one of the most innovative groups on the Colombian musical circuit in 1973, Columna de Fuego forged its sound by creatively and organically mixing elements of heavy rock with rhythms rooted in the music of the Pacific and Caribbean coasts of the country. Columna de Fuego, the first Colombian rock band to tour outside South America, was the supporting act for Leonor González —La Negra Grande de Colombia— for months and featured members of Los Young Beats, Los Speakers and Siglo Cero. Their only LP, recorded in Spain and released in Colombia only in 1974, was a turning point in the history of Colombian rock, an album full of funk, soul, cumbia and currulao that maintains a fast pace from start to finish. After unsuccessful attempts to establish themselves in Europe, the group parted ways; some members returned to Colombia and others stayed in Europe as part of La Banda Salsa, a vibrant and little mentioned chapter in the history of Latin rock. Roberto Fiorilli, the stand-out drummer of Colombian rock, returned to his native Italy. Over the following five decades, the myth of Columna de Fuego, that wonderful Bogota rock band that dared to experiment with the music of the Colombian coastline, grew. The curiosity of musicians interested in the traditional music and folklore of the coasts since the late 80's, the consequent mixture of different musical genres (modern and roots) at the end of the 20th century and the almost impossible desire of collectors to find a copy of the album or one of the band’s singles, gave it the status it should always have had as a pioneer, milestone and beacon. After remaining unavailable for five decades, we are proud to now present the first-time reissue of this obscure gem with its original artwork, including an insert with notes and rare photos. Sleeve

If there’s a secret to time travel, Kool Keith owns the patent. Even a flying DeLorean seems too
conventional for the Bronx legend. He’d more logically orbit throughout the galaxy in a gleaming
chrome spaceship, teaching the stars and aliens new forms of originality. He is too weird to live, too
rare to die, too uniquely ultra-magnetic to be accurately mimicked. Released on Mello Music Group,
Time? Astonishing! is the latest dimensional warp from hip-hop’s premiere astral traveler. His union
with MMG producer L’ Orange finds him exploring uncharted terrain: choppy volcanic rock planets, ice
glacier moons, new surgical procedures, and fresh rappers to toss into the ether. The scalpel remains
eternally sharp. The beats glow with radioactive grit. Hard enough to knock from your car speakers,
cinematic and plutonium-propelled enough to transport you to strange terra firma. Buck Rodgers
movie serials meet boom-bap. And along for the odyssey are a cast of the best underground MC’s of
the last decade: Blu, Open Mike Eagle, Mr. Lif, J-Live, and more. These are space symphonies and
occult odysseys, fuel for wanderers, wonderers, and all the a-likes. Welcome to the new world, even
more sinister and suspenseful than the last one. We live in astonishing times: abstract, absurd, and
indelibly Kool.

A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!



Antes de presentarte esta novedad, hay que entender que en la segunda mitad de los años setenta, algo estaba cambiando en la escena musical. Los grupos musicales estaban en su auge hasta que llegó la llamada al servicio militar obligatorio. Entonces, todo el mundo volvía de él sin sus largas melenas y sin dinero. Los baladistas sin personalidad tomaban el control de la música, según lo dictado por las discográficas. Es entonces cuando las copleras, cantaoras y rumberas se convierten en la respuesta necesaria para combatir la insípida melosidad. A pesar de un contexto sociocultural desfavorable, arreglistas y productores invertían horas de sueño para revivir un sonido que estaba al borde de la extinción. A pesar de los cambios que haya podido haber desde entonces, el más significativo es que ahora la inmediatez digital dicta el rumbo.



Es por toda esta importancia que finalmente ha llegado un álbum que reúne a un elenco de folclóricas en una combinación única, fusionando el concepto del groovy funk; con canciones que abarcan todo el espectro afroamericano de la música de baile de los setenta, con toques de gritos y susurros aflamencados que le dan un giro impresionante. Podríamos considerarlo el álbum destacado de las Rosalias del siglo XX, una especie de viaje lisérgico en blanco y negro a la España de la posfranquista. Con su hiperrealismo revolucionario, este disco nos ofrece a una una estirpe de artistas sin igual.

En este encontrarás las joyas ocultas de artistas como Flores, Pantoja, Jurado, Polaca, entre otras. Aunque se mantuvieron fieles a sus estilos, todas ellas fueron famosas por otras facetas de sus extensas discografías, y muchas incluso aparecieron en la portada de Interviú en más del cincuenta por ciento de los casos, como las feministas de los años setenta según Francisco Umbral.

A1 - Theia

Opening his Spatial account in an historic release for the label and a moniker dormant for over 25 years, JLM Productions opens the EP with Theia - a track which will take you right back to early Progression Sessions days - delicately introduced with blippy effects and hi hats, ushering in crisp metallic beats and relaxing padwork. The track develops continually with soothing melodies and amens added into the mix, resulting in a stunning and varied collage of finely tuned elements that never sound too busy to the ear - JLM Productions, welcome back!

A2 - Derealization

Changing things up while still showcasing the ability to combine a crazy level of detail into a cohesive mix, Derealization is a suspenseful, slightly moody track with JLM Productions laying down distinctive snappy breakbeats and sudden, fierce bassy hits, with tension rising from the eerie synthwork to envelop the listener throughout a track which demands repeated listens and will surely do damage on the discerning dancefloor.

AA1 - Quadrature

With a vibe reminiscent of his output in the mid-90's Reinforced era, JLM Productions drops Quadrature which takes that inspiration and brings it right up to date for Spatial in 2023, effortlessly combining synthetic breaks with understated echoing bongos, restless wavy notes and old school melodies punctuating the immersive atmosphere of the piece. This one thoroughly deserves pride of place in the "old school brand new" club.

AA2 - Translight Velocity

Continuing the old school theme, Translight Velocity quickly shows it's intent with inspired off-key notes before a lesson in joyous 90's style breakbeats leaps out of the speakers - not a single head in the room will be still with this on deck! Bouncy basslines and finely crafted drums from a variety of break samples jump around chaotically, sending your mind to the dancefloors of old in a way that feels incredibly fresh today

Words by Chris Hayes

There are different ways to celebrate an anniversary. We can look back and reflect on where we've been and how far we've come. Or we can look forward towards future possibilities. Alternatively, we can simply pause for a moment and be present - right here, right now. Rather like we are aware and mindful of what is happening at this very moment when we're enjoying superb music, excellently recorded and played.

That's how Clearaudio is celebrating its 45th anniversary. To mark the occasion, Clearaudio are delighted to present an album of music that embodies their passion for perfection, for nuanced and detailed sound, and for an intimate marriage of creativity and technical finesse. In other words, an album that reflects the key principles by Clearaudio.

"Take the best, make it better - only then it is just good enough." This well-known quote is as valid today as it was 45 years ago, and has inspired a host of colleagues and collaborators along the way. Ever since the release of Delta and Sigma speakers in 1978 and the development of the first moving coil cartridges, not a day has passed when Clearaudio didn't strive to set new standards for higher fidelity. This mindset continues to underpin their work to this day.

No matter where you've come from or where you are going, if your heart beats to the drum of truly authentic sound, then you'll find Clearaudio spirit, will and drive in every single one of their products - from the most towering turntable to the smallest cable.

While some creators may be content with merely looking closely, Clearaudio has always looked and listened closely. Very closely - and at both ends of the spectrum, from top-quality record engineering to excellent playback. So the early stages of every Clearaudio musical recording begin with questions like: "Does it sound exactly like in a concert hall?" and "Does the music feel as was intended when it was written and composed?"

In addition to their own recordings, a number of their favourite legendary productions from Deutsche Grammophon have also found their way onto this album. So why not take a pause, "take five," and enjoy these moments of exceptional music, lovingly produced? And join Clearaudio in celebrating 45 years of loving music!

Pressed On Clear Vinyl! 'We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.' So reads CL Smooth's album dedication in the liners to Pete Rock & CL's underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992's Mecca & The Soul Brother and the album's emotional smash single 'They Reminisce Over You (T.R.O.Y.).' Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature - yet still righteous - wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo's '90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock's pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout. The lead single, 'I Got A Love,' is a perfect example of the group's '94 steez: a super-catchy and respectful, but far-from-soft love track, suitable for any rap fan's romantic needs. 'Take You There' and 'Carmel City' cover similar ground. Considering CL Smooth's top-level brag rapper status, cuts like 'I Get Physical,' 'Get On The Mic' and 'Check It Out' effectively reminded competitors not to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo) on the cloudy day soul of 'Escape,' alongside other cuts. Add more pensive lyrical forays like 'All The Places,' 'Searching,' and - perhaps the album's sleeper cut - 'It's On You' and you have one of the more complete rap full-lengths of the mid-1990s. This isn't surprising, considering the wonder twins-esque skills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer.

















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Swing Family's Music Force is dramatic mid-80s synth-funk. From the maverick mind of Sauveur Mallia, it's a thrilling and uniquely brilliant album from start to finish. It's undoubtedly known and revered for its unbelievable standout track, "Mission Africa". Those that know, know. And if you don't know, get to know. It's the reason this record has been hugely sought-after for the best part of two decades. Originally released on Tele Music in France in 1985 but now tear-inducingly rare, this is the definition of "a welcome reissue."

Swing Family is basically a supergroup of French Funk royalty. Led by French disco lord and Arpadys maestro Sauveur Mallia, they were augmented by trombonist Alex Perdigon from legendary French funk rock collective Godchild, trumpeter Kako Bessot from funky fusion group Synthesis and saxophonist Pierre Holassian, a member of Giant, Janko Nilovic's French jazz orchestra. So, about as heavyweight as it gets for funky French goodness. Mallia handles, of course, bass duties throughout, as well as utilising his arsenal of synths including his E-mu, Yamaha Dx7, Roland MSQ 700, Mini Moog and Oberheimm.

The maximalist disco fusion of "Exorcistor" is perhaps a bit too 80s French cheese for most tastes, so either linger on its singular style or head straight to the soundtracky typo-funk of "Greewich Boulevard". A deep, swaggering powerhouse, it comes on like mid-80s Chic jamming on the set of Beverly Hills Cop with Kashif. Yes, *that* good. It's followed by the vital "Music Force", a synthy, sleazy instrumental full of sax and flute and those 80s drum fills. Just the right side of acceptable.

OR! You can even choose to forget all the rest and just stick "Mission Africa" straight on. A rumbling, strutting, afro-cosmic low-profile banger. The slick drums hit hard, the synth strings warm things up, overlapping horns add swagger whilst electric guitar flourishes and a chanted refrain sit in the mix quite perfectly. A track that's almost impossible to describe and do justice to. You just need to hear it. Preferably as you saunter into your favourite after-hours club, after spotting all your friends at once, as you cut a swathe to the bubbling dance floor. A track quite like no other, it makes you sit up within its first bars and, to us at least, sound like something you'd have heard on a Print Thomas mix from the mid 00s. Basically, it's cosmo-galactic.

The B Side opens with "Musical Stars", an oh-so-80s funk-lite track which, at times, sounds like something Daft Punk may have left on the cutting room floor during their Discovery sessions. Another unimpeachable favourite of ours is the druggy brilliance of "Gentleman & Musician". You can almost hear the white powder through the speakers, as soaring, acidy synths, slick, heavy beats and the irresistible interplay of the primo horn players create a real sleazy wonder. "Film Action" follows, a galloping horn-heavy synth romp with moments of extreme bass breakdown brilliance before the drama-synths of "Episode Double" take things up another notch as it oscillates between gorgeous funky horns and urgent bleepy magic. Super tense, super funky and super stylish. Just ace. The elctro-tinged horn workout "Fatal Lady" closes things out majestically.

The audio for Music Force has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve - complete with perky Liberty Belle - has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Samosa Records heads into the autumn with a crackling and enchanting EP from one of the masters of funky grooves and dusky beats, LTJ EDITS.

Opening the EP on the A-side, we have the perfectly pitched ‘Somebody’. Tight bassline merges with church- like organ chords, a sharp guitar riff and a soulful vocal that you feel in deep your bones. Meticulously constructed, this track will resonate with anyone familiar with LTJ Edits’ work (and newcomers alike).

A2 brings us the title track, Mr Man. This masterpiece has everything you want from a slow, thumping groove. At 98 bpm, it’s a trademark LTJ Edits smackdown, but oh boy - it has so much more in the trunk. Mesmeric, hypnotic - the familiar smooth mid-range tenor vocal gives you goosebumps on your goosebumps. An instant classic.

The B side kicks things off with mid-tempo stomper ‘Give All’. Make no mistake, this is LTJ Edits in the kitchen cooking soul food with a hint of blues and lashings of rare groove. A rolling, powerhouse of a track that also delivers a message to the masses, you’ll have this one thumping out of your speakers for a long, long time. Everybody needs it. Got to have it.

Finishing off this outstanding release is the cherry on top of the funky cake - simply entitled ‘James’. As soon as the guitar riff and bass starts, you get the meaning behind the title. This is all about the raspy, unmistakeable vocal, chanking guitar and funkadelic, bluesy bassline. A rhythmical, funk infused JB bath bomb from start to finish. After your first listen, you’ll want to go straight back on this ride.

The Mr Man EP is a serious chunk of vinyl and LTJ Edits has found a perfect home at Samosa Records. You have this in your record box and you’re ready for anything.

A new entity has made musical contact with Shipwrec. Alpha Vistor. The newly minted moniker of musician and sound designer Ivan Zapico, this four tracker debut is steeped in the traditions of electro. In the ghostly "Ciudad Fantasma" threats lurk in the murky shadows of basslines and beats, an unsettling atmosphere of menace penetrating speakers from the outset. Clinical percussion and an overarching unease introduce "20202020." Dark undercurrents of melody brood below shimmering glass chords in this foreboding work. The flip comes to life with "Malos Tiempos para la Guerra," an ominous prescience coming to bear in the track title. A hi-hat haze is broken by sweetened strings, a kick drum maintaining the intensity. When a snare arrives, it is accompanied by greasy acid basslines; brightness countered with shadow. The final encounter comes with "Templo de Cova." A soaked beat surfaces amid stabbing sythlines and twilight tones that break to triumphal highs, a reflective culmination to this ruminative record.

Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe. As part of that legacy, "Africa 5.000" (1975) has a legendary reputation as one of Discos Fuentes' best hard-to-find Afro Caribbean funk records and is a highly prized collector's piece. This LP features several classic dance floor gems as well as some lesser-known nuggets and a non-album bonus cut, plus informative notes. "Africa 5.000" (1975) has a legendary reputation as one of Colombia's best hard-to-find Afro-funk records and is a highly prized collector's piece today. The epic 'La torta' ('The Cake') kicks things off with a lively Colombian interpretation of Haitian compas. The tune is still remembered as a big picó (amplified sound system) hit at the verbenas (outdoor dance parties). 'Fiebre de lepra' ('Leprosy Fever') was also released as a 45 single and is certainly one of Wganda Kenya's wilder tracks. Funky wah-wah guitar, makossa style bass, manic organ, and feverishly insane vocals (from Wilson "Saoko" Manyoma and Joe Arroyo) indicate that Fruko and his pals were having a ball goofing around in the studio. If for no other reason, "Africa 5.000" is sought after for being the album containing Fruko and Javier García's outrageously funky and off-kilter 'Tifit hayed', which has become a tropical dance floor favorite in recent years. Again the "kitchen sink" approach is employed, including massive Latin bass lines, tasty Farfisa organ stabs, a bluesy, jazzy piano solo, and plenty of humorous vocal sound effects (including animal noises and lip burbling). However, it's the stomping break beats and cowbell counterpoint that has kept dance floors busy. Side B leaps out of the speakers with the heavy, strutting 'El caterete', which was the flip side to the 'Fiebre de lepra' single and is based on the 1970 song 'Cateretê' by Brazilian singer/songwriter Marku Ribas. Like its sibling Fuentes studio band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe, and this reissue of "Africa 5.000" will only serve to further cement the band's growing reputation amongst today's diggers of tropical psychedelia. First time reissue.

Empathy is the codeword when it comes to The AM’s second solo EP: The ‘Sexworker’ EP. A short story through music and art, allowing you a moment to walk a mile in another seasoned professional’s shoes… Imagine life through her eyes, her thoughts, her feelings, her actions and motivations as her work takes her from flirty fun to a much more severe and fierce role as a vigilante, fighting for justice and retribution for women who’ve been abused and wronged. As the EP progresses, the further we’re plunged into this dark nocturnal world of carnal chaos, deceit and danger.

Sat in a not-so distant neon tomorrow, downtown Detroit, this is the vivid concept and narrative conjured by Detroit native, violinist-turned-techno artist The AM (Ann-Marie Teasley) Sliding into our collections since her debut tracks last year as one half of HLX-1, 2022 has been all about The AM solo releases; in March we had ‘Black Majik’ on Tresor. Now on Deeptrax ‘Sexworker’ is another revelation from the agenda-setting artist who’s crafted a completely immersive narrative that ranges from the playful electro beats of ‘Intercosmic Lap Dance’ to the runaway juggernaut ‘Black Galaxy’ (a collaboration with Scan 7's Track Masta Lou). Each track adding layers of tension and intrigue, cutting through the late night sleaze and exploitation with raw machine soul, ‘Sexworker’ is steeped in detail… But loaded with enough space for your imagination.

Fronted by a stark futuristic city artwork, ‘Sexworker’ takes place in The AM’s stomping ground but could just as easily happen anywhere in the world… Amsterdam, London and right now, our speakers. This bumps in an exciting yet timeless way. It’s AM 24/7 right now.

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