Buscar:becoming

Reissue of this 1976 LP from Zambia. Deep minimal African music, lovely compositions over scarce drum machines and (fuzzy) guitars.. Beautiful music with a deeper message in the lyrics which is explained better in the long review below. Some words from the label. There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

Repress

Powerful EBM tinged Techno cuts by Betek who's becoming one of the labels mainstay's. Junior Flutuante is opening up the vaults of Bernardo's harder and rougher work. After his succesor in 2018 with 'Discipline' ep we gladly welcome Bernardo back.

Boyband is the name of the newest project ran by Macarie with Andrei Petru. The three bangers that make up the AVi002 EP are Firematches (A1), along with Reckless Don (B1) and Troubled Hats (B2). Firematches impresses with its guitar-inducted energy and positivity, while Reckless Don offers a unique game of sound to its listeners, with somewhat dark and obscure elements. Troubled Hats is a trippy song on its way of becoming a classic of this genre. The sound is more industrialized compared to the one in Firematches, with metallic effects that linger inside your eardrums even after the song is over.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

Emotional Rescue returns to the music of British "pop" band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output.

Taken from three 12"s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play.

After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of "intense" follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, 'I Can't Crack'. A more urgent version of the sound Furniture had debuted with 'Why Are We In Love', the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play.

This is followed by the studio experiment 'Throw Away The Script', where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of 'Love Your Shoes' 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end.

The B-side continues the band's love of making extended mixes with 'Dancing The Hard Bargain'. Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark.
To close this collection is the mammoth 'Bullet'. Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called 'The Lovemongers', here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

Luc Kheradmand, under his “nom de plume” Voiski, has created a gem of a record for ara, named At e Speed Of Love His highly distinctive sound is distilled into 5 stunning tracks which feel both analog and futuristic. Diverse yet coherent, the record is a fantastic blend of positive energies, unfolding and revealing its different faces as it progresses ; ecstatic at times, and moving at others. is is music with enough depth to project your own meaning and emotions.

Limited 12” Vinyl : Numbered edition of 500 . Handmade with love in Berlin

Each vinyl sleeve is individually painted with highly-pigmented acrylic, using a single-movement brush technic, on grey cardboard sleeves, protected by a high grade transparent outer sleeve Since releasing physical records is increasingly becoming an irrational choice, each ARA record is irrationally produced as an hand-made work of art.

Editions are individually numbered, recognisable as a part of a whole, while being slightly different by nature.

This 4 track EP comes out of Ibiza Records archive vault's called Archives Vol 5 produced by Low Block Noise in 1991 & EOAD in 1993. Each of these tracks represents hardcore and merging of jungle breaks starting to come through in the early 90s.

A. Rave in the Bedroom - This track produced by L.N.B made in 1991 has some great piano stabs and had a sample taken from 'The Young Ones' bbc2 sitcom as back then it was all about the big samples being used.
AA. Its Not Big & Its Not Clever - This track from L.B.N made in 1992 and has a classic sample taken from Robin Williams 'Good Morning Vietnam' film. The track has strong jungle breaks that were now a dominating presence at that time in the scene.
AAA. Love The Feeling - This track produced by E.O.A.D made in 1993 is more hardcore with the piano stabs offering a ravey anthem feel representing the warehouse scene. Which was dying out and Jungle was becoming the more dominant force.
AAAA. This track produced by E.O.A.D also made in 1993 and is a remix of the original with the hardcore elements offering a more raving anthem feel representing the warehouse scene back then.

Fleeing her Soviet ruled home of Tbisili at a young age with her parents, Saze grew up as a nomad living in Russia, France, Canada and the USA before finally settling down and pursuing a career in NYC. A classically trained musician and dancer, before long the Georgian turned her back on corporate life to pour her heart and soul into the arts. Becoming a diligent and versatile electronic music producer, DJ and live act, Sophia Saze is as comfortable sculpting intricate and atmospheric productions in the studio as she is decimating dancefloors with robust Techno and frenetic Breaks. Reflecting on her turbulent life and how it’s formed her own identity, Saze composed her aptly titled debut album, ‘Self’. Released on cassette in two instalments, ‘Part I’ dropped in June and was critically acclaimed with support from the likes of BBC 6MUSIC’s Tom Ravenscroft, Mixmag, DJ Mag, XLR8R, Resident Advisor, Future Music, Attack Magazine, TRAX, Tsugi, Ransom Note and Groove Magazine, with the latter drawing a parallel between hers and Burial’s music. Completing the journey, ‘Part II’ meanders through genres like Ambient, Hip Hop and Breaks, and features very personal insights including handpicked samples from Soviet television shows and VHS cassette recordings from her childhood. Hidden allusions of her classical music education bring up distant memories and melt together the organic but thoroughly electronic ambience. Crackles, hushes and hisses are elaborated so well that the record virtually gushes over the ears like mountain torrents. It appears peaceful and quiet, then rousing and it is sparked with bewildering sounds. It lets scattered beats arise from the thicket and drown again in streams of noise. But

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

The idea of this records came out of a book called The Metamorphosis of Plants, written by Goethe in the 18th century. I was also triggered by a greek friend, who explained me the etymology of the world ""metamorphosis"", that is such an interesting greek concept.
""I cannot tell you how readable the book of nature is becoming for me: my long efforts at deciphering, letter by letter, have helped me; now all of a sudden it is having effect, and my quiet joy is inexpressive."" - Johann Wolfgang von Goethe to Charlotte von Stein, 1786

Back in stock!

Extracting a rich sense of emotion from an evolving analogue set-up, Hammer follows up his previous FMB outings Dahlia and C-Space with a similar tone and sound palette as he lays out a new EP with 3 tracks that capture the Feel My Bicep sound perfectly, striking the balance between delicate melody and power with aplomb. This EP follows what has been a heavy 2019 gig schedule, with stand out sets at many top festivals and clubs such as Glastonbury, Panorama Bar and Parklife, along with both an Australian and Indian tour under his belt. The lead track ‘Parabola’ manifested as a slow burning percussive experiment that, as Hammer explains, ‘quickly got fired up by an extra 10bpm for the dance floor effect, turning itself into an acid led epic’ and as a consequence accidentally becoming the A1 at the same time. ‘Parabola’ is followed by ‘Panoptic’ and ‘Entropy’; all three track names inspired by his recent love for physics podcasts. He describes how ‘they are based around types of curvatures and levels of order that, in my head, are the visualisation of the 3 tracks inside workings; the engine room of the time machine.’ All three tracks were created with Hammer’s much loved Yamaha CS1-X, ‘a spaceship in its own right’, he explains. ‘A Xoxbox and a Roland SH-2 did the rest of the hard work. Time to enter the twilight zone with this one’! Bicep continue to add substance to what has now become a distinctive and singular label with this new 12" courtesy of their long term friend and blog contributor Hammer. With their previous offering from James Shinra still in many roving record bags and with a release catalogue full until the end of the year, the development of the label has reached a certain zenith and here - as head strong and highly effective as ever - Hammer makes a welcome return to the label with another batch of machine-driven dance tracks.After 12 years of promoting parties in Glasgow, The Hammer Hits goes on tour inviting guests such as Sally C, Jennifer Cardini and fellow FMB signee Cromby across the UK, Ireland and Berlin.

Singer, lyricist and composer Nirox Romão aka Diron Animal was born and raised in Cazenga, Angola. Diron Animal's involvement in the music world began early: he was part of a traditional Angolan music band and capoeira group, followed by a hip hop project. 12 years ago he moved to Portugal to study, but music became more than just a passion when he landed in kuduro.

For over 6 years, he sang, danced and traveled the world with Afro Portuguese act Thoes + The Shine, mixing rock and kuduro, becoming an explosive ensemble. At one moment, Diron wanted to record a solo album to show a bit more of his own personality and in late 2017 his debut album ‘Alone’ appeared on Soundway Records, where he himself worked out the melodies, rhythm, vocals and even the guitar parts between classic funk to afrohouse and kuduro bass. Through that album he explored major festivals in Europe during 2018, such as at Paléo Festival Nyon, Trans Musicales Festival, Amsterdam Dance Event and others.

On ‘Pair’, his 2nd album and released on Brussels outernational label Rebel Up Records, he has worked hard to enhance his special formula. Inspired by the cruel death his nephew, it became a testament against oppression via the mixed sounds of afro boogie, disco, funk, afrohouse, coupé décalé and kuduro, with English and Portuguese lyrics.

The first single of the album, ‘You and Me’, is an English sung afro boogie disco song and produced by Diron with the support of musician and producer Moullinex, actor André Cabral and video made by director Vasco Mendes. In the video, featuring dancer and actor André Cabral, Diron Animal takes on the role of a gay man to express that a homosexual is a normal person who loves, feels desire, dreams, conquers, wants to be loved and desired, wants to live next to a being that completes him. With “You and Me”, Diron Animal above all wants to appeal to society, respect for the choice of people and non-discrimination of sexual choices. For in life we all deserve to be happy regardless of our sexual choice.

LIMITED GREEN AND RED VINYL WITH DIGITAL DOWNLOAD INCLUDED.

All-conquering Dutch heroes Kraak & Smaak have taken the electronic music scene by storm in recent years with a slew of killer collaborations with the like of Mayer Hawthorne, Romanthony (RIP), Eric Biddines (Golden Rules), Parcels, and many more. Their live show has seen them play every festival and club worth the mention from Glastonbury to Detroit Movement, Coachella to Space Ibiza.

After their debut album 'Boogie Angst' established them in the spotlight with heavy Radio 1 support from Pete Tong and Annie Nightingale, the band followed up with breakthrough albums – 'Plastic People' and 'Electric Hustle'. Launching them to another level, these albums featured the standout singles - 'Squeeze Me (feat. Ben Westbeech)', and 'Let's Go Back (feat. Romanthony)' which have both become ubiquitous through TV ads, funky dancefloors and tens of millions of streams.

Riding high they then released a seminal piece of work in the shape of their fourth studio album - 'Chrome Waves'. An album that is a joyous fusion of disco, funk, indie, electronica and pop all smooshed together with Kraaak & Smaak's unique sonic signature throughout. Teaming up with a crew of ultra-talented vocalists: Sam Duckworth (Get Cape. Wear Cape. Fly), John Turrell (Smoove & Turrell), Stee Downes, Capitol A, Joi Cardwell, Janne Schra and their very own live band singer - Berenice Van Leer , they created an album packed full of dancefloor-ready jams for all occasions…

It was received well by both fans and critics alike, picking up a coveted Mixmag tune of the month award, topping European club charts, becoming a staple on radio playlists everywhere, and of course selling out on the original vinyl pressing runs.

Well after much demand we are now reissuing this masterpiece on a 2xLP limited edition green and red vinyl and once again you can own it on wax. A present for both the fans of old who missed it the first time around, and those who have discovered Kraak & Smaak in more recent times.

Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.

The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds.
It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow.
From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint.

It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.
Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.

This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

Known as the Queen of Morna, Cesária Évora brought the traditional music of Cape Verde to international recognition and became recognised as one of world music's great female voices. Raised in an orphanage, Évora started singing as 16-year-old in the bars and sailor taverns of the West African island and sang on cruise ships before performing in Portugal at the invitation of Cape Verdean singer Bana. After being discovered by Portuguese producer Jose Da Silva she went to Paris becoming a serious global star. . Madonna asked her to perform at her wedding and again for her birthday, but Evora turned her down both times
Influenced by Brazilian rhythms, creole flamboyance and the heartworn sadness of the blues, the "barefoot diva" was compared to Billie Holiday and found great acclaim in). A heavy drinker and smoker, Évora's romantic, humble visions of Africa led to a Grammy Award for Voz d'Amor (2003), but ill-health forced her retirement in 2010 and she died - aged 70
The Barefoot Diva, and she continued to always perform without shoes on, proudly proclaiming her humble roots. She is also remembered for her stage appearance, always modestly dressed, with a bottle of Cognac on stage and a cigarette in her mouth.
Cesaria Evora is the world's foremost singer of the morna, the indigenous style of Africa's Cape Verde Islands. The morna evolved as a hybrid of Portuguese fados, British sea shanties, and African rhythm, reflecting the island's history as a Portuguese colony and spot for British coal mining. Some say it was also influenced by the modinha, a Brazilian song form. Full of mournful melodies and slow tempos, Evora's music encapsulates the essence of the morna in its sadness, longing, and nostalgia.

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

Club Soul are proud to present the first ever reissue of this cult album, now complete with the, previously unreleased, instrumental. It is presented on

180gm heavyweight audiophile vinyl in a single sleeve featuring a Club Soul insert with new sleeve notes.

Dancin’ joins a growing catalogue of premium music on the Club Soul imprint - including crossover hits compilation ‘Shades of Soul’, the ‘All-Dayer’ LP, and

newly compiled albums that celebrate the clubs of the original Northern Soul Scene - ‘The Scene Club’, ‘The Twisted Wheel’, ‘Wigan Casino Soul Club’,

‘Catacombs’ and the forthcoming ‘The Golden Torch’. To the pop buying public Van McCoy is known for his 1975 Grammy Award

chart-topper “The Hustle”, after which he sadly died of a heart attack in 1979 at the age of only 39. To rare soul fans Van McCoy is a hero: THE most prolific

writer and producer of Northern Soul of all time, working with a host of legendary artists including Kendra Spotswood (aka Sandi Sheldon) with whom he had

a five-year relationship. ‘Dancin’ ‘ was originally released by Shelby Singleton in 1976 on his SSS International label, although all the ten original songs were recorded much earlier,

circa 1968-69. With its kitsch cover and out-of-kilter track list, copies soon filtered through to the UK and into the hands of club DJ’s at Wigan Casino with

perhaps “Help Is On The Way” becoming the stand-out track. Richard Searling played the mid-tempo “Just Another Dress Rehearsal” in the latter days of

the club while an unreleased instrumental version of “Ain’t Got No Love” was played post-Wigan from a studio acetate.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

his time with rapid-fire synths and dance beats that worm their way into your brain and get stuck there. Keeping it Cyberpunk and dance-able, he surprisingly tops himself once again. We can just spew more praise but let's let this album speak for itself, along with his amazing collaborators.

Scottish producer Alex returns to Playmaker Media Records after his previous album ‘X’ was released through the label last year. After a few releases through New Retro Wave he’s becoming a house hold name in the alternative synth scene with his unique mix of dark synth and cyber pop".