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With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

“A genius” - Nai Palm
“One of the most incredible live performances I’ve seen” - Gilles Peterson
“He's like a human centipede sewn out of all the greatest musicians from the past 80 years” - Liam Pieper

Emerging from Brisbane’s music-art bohemian West End in 2008, self-taught, prodigious musician Lachlan Mitchell aka Laneous, began his eclectic and colourful journey in music as the leading member of funk band KAFKA, stamping his trademark falsetto croon on an Australian music landscape that wasn’t quite ready for an artist whose standout influence was D’Angelo’s ‘Voodoo’. Word of their talent soon reached UK’s perennial tastemaker Gilles Peterson who featured the band on his compilation, Brownswood Bubblers Four alongside other breakthrough acts at the time, Mayer Hawthorne, Floating Points and Lone. A world-class guitarist, vocalist, composer, visual artist and – significantly - muse, Mitchell’s unique ability to shine, create and inspire across genres was his obvious forte, even then. Regularly sought after to provide features for other bands and cover art for Hiatus Kaiyote albums Tawk Tomahawk and Choose Your Weapon, he worked diligently to support his community. But while Hiatus’ Nai Palm told media Laneous was “a genius” he often credited music and drawings to pseudonyms.

In 2016, after 8 years of humbly dominating the Australian underground art, soul and jazz scene [with ‘mutant-soul/croon punk’ cult group Laneous & The Family Yah, reggae band Kooii and improv-jazz-beat trio, Vulture Street Tape Gang] Mitchell relocated to Melbourne - a move that would instigate and inspire the long-awaited debut solo LANEOUS record that fans and peers had been craving for nearly a decade. Excited to create new music with an artist they’d previously referenced as an inspiration, Paul Bender and Simon Mavin (Hiatus Kaiyote) came on board swiftly, joined by Hudson Whitlock (Cactus Channel) on drums and Donny Stewart (Jazz Party) on vibraphone and flugelhorn - a key element in bringing Mitchell’s vision of an exotica/soul infused album to life. In classic Laneous fashion, the musical references for the record run deep, winding through an eclectic array of artists from Martin Denny, Burt Bacharach and The Beach Boys to Shuggie Otis, Wild Cookie and Wu-Tang.

The debut single Modern Romance was unleashed in October 2018 with a kinky, captivating visual accompaniment that marked the return of the Laneous legacy. After selling out the Melbourne launch of the single, the band was invited to headline Gilles Peterson’s Worldwide FM x Northside Records live Melbourne broadcast, teasing exclusive album cuts and drawing high praise from Peterson, stating it was “..one of the most incredible live performances I’ve seen’.

Out May 10 via Soul Has No Tempo, Mitchell’s MONSTERA DELICIOSA stands as a sublime genre work, peerless in Australia - his magnum opus bears the name that’s backed him from day one:

Meanwhile in the Blast Office, Party Nails have been cooking straight bangers for bent dancefloors.

Four more heaters to test your meters.
Following an inclusion for PN001 in DJ Boring's Phonica top 10 for 2018 the duo gave up their day jobs to pursue their dream of full-time idiocy.

Please buy this record. The kids still need wine.

DON'T ASK WHY - JUST BANG THE NAILS

'Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts ... and worked part-time as a cocktail mixer in a tropical bar which was one of the favourite watering holes of Brussels' thriving artistic community of the early '80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers & artists who patronized the bar. Benjamin had a secret passion: he wasn't a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he'd agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of '82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You'd think that some of the pieces feature non-European musicians or samples but: no... this is just Benjamin's imagination, his synths, and his friends...'

Marc Hollander, Feb. 2019

Classic roots selection from 1983, reissued here on Lloydie Coxsone's Tribesman label.

The Analog Africa label delves into the amazing history of music from 1970s Benin and Togo.
This compilation highlights forgotten raw and psychedelic Afro sounds, and the well-researched liner notes tell fascinating stories to accompany the mind-blowing music. The essence of Analog Africa is clear, searching in dusty warehouses for forgotten music to keep the sound alive!

German electronic originator Gudrun Gut's latest solo collection distills a lifetime of persuasions and obsessions into a compelling 14-track statement: "Moment." Stark, somber, sultry, and clever, the sides slide between ballad and lament, synth-pop and spoken word, anthemic and abstract.

Gut's background as a key figure in Berlin's first-wave industrial uprising still casts an aura in the music's mechanized rhythms and frozen emotional palette but decades of improvisation and collaboration have deepened her sense of composition and melody beyond any easy genre categorization.

If anything "Moment" finds Gut's muse at its most enigmatic, threading shades of motorik hypnosis, technoid laboratory, coldwave pop, glitchy gauze, and even a gender-bent Bowie cover ('Boys Keep Swinging') into its eclectic web. It also showcases the depth and detail of her voice, reserved but suggestive, intoning blunt truths and opaque poetry in both German and English.

This is music of history and heartache, modernity and desire, alienation and expression, by a singular creative committed to the complexities of sound. - Britt Brown

Gudrun Gut's story spans many years, scenes, and sounds, from the 'ingenious dilettantes' subculture of early 1980's Berlin as part of Mania D, Einstürzende Neubauten, and Malaria! to her twilit industrial pop trio Matador into an expansive solo catalog of later work scoring films, videos, and radio plays. Her talents extend beyond musician, however, to include founding record labels (the influential imprints Moabit Musik and Monika Enterprise), club nights (progressive electronic pop collective Oceanclub), and experimental feminist collaborations (Monika Werkstatt).

Gut also works extensively in the technical sector of the recording industry, as a producer. Recent projects have included collaborations with Antye Greie (AGF) and Hans-Joachim Irmler of Faust, participating on the advisory committee for Musicboard Berlin, and performing at The Royal Albert Hall with Âme as part of an Innervisions label night.

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

After years of playing with the Moroccan community of Brussels, music maker and jazz musician Luc Mishalle knows every trick of the cross-fertilization of gnawa music, jazz & brass. Gnawa is the Northern African islamic sufi music with healing vibrations and spiritual lyrics, played by the descendants of African slaves. The album title 'Beats & Pieces' refers to the collaborations with Belgian percussionist Roel Poriau (Think of One, Antwerp Gipsy-Ska Orkestra), Tunisian electronic producer Sofyann Ben Youssef (Ammar808, Kel Assouf) and Moroccan-Belgian gnawa master Maalem Driss Filali. 'The album is significantly less 'jazz' than past collaborations with Byron Wallen and Trevor Watts,' explains Mishalle. 'It's based on gnawa songs I transcribed and arranged together. Half of the songs contain vocals, which makes it more radio-friendly.' There are also fragments of Beninese traditionals and which bring us to another thread through the album: trance. You can find it in gnawa music and even more in Benin, the cradle of voodoo. 'Trance music aims to create obsession through constant repetition. We kept the essence of that music, adding jazz and brass colours,' Mishalle finds these musicians in Brussels, and together they search for the sound of this city known for its hyper-diversity. 'Brussels' context is unique, in Belgium and beyond. Our metropole has quirky vibrations. To catch them, you have to fully submerge.'

Fresh off the back of the languorous poolside disco and tropical pop of their debut album 'Shapes On Shapes' released last November, LA based duo Wild & Free return with a collection of essential remixes from label mates and influences alike by revisiting the heady disco of recent single 'Ferns and Stuff'.
Both multi-instrumentalists, singers and producers in their own right, Wild & Free duo Drew Kramer and George Cochrane came together in 2015 and have spent the past 2 years crafting a series of acclaimed EPs and remixes (for the likes of Joe Goddard (Hot Chip), Panama, Gigamesh, RAC and Ben Browning of Cut/Copy) that saw them tipped by the likes of Spin, XLR8R, Indie Shuffle, Clash Magazine, Data Transmission and many more and take their live show on the road playing alongside the likes of Brooklyn's Body Language.After releasing a few solid ep's and two full lengths album's Xinobi has gained real recognition among established and well-known artists and opinion-makers, and his underground cult has amplified. What has followed is remixes, edits and reworks for artists such as Sbtrkt, The Avener, John Grant, Toro Y Moi, Nicolas Jaar, Agnes Obel, Kris Menace and Tensnake.Along with Moullinex and Mr. Mitsuhirato he gave birth to the still-growing-influent Discotexas who here lend their label mates their expert musical arrangement skills with 'Discotexas Club Mix' thrown in for good measure. And it doesn't stop there, with legendary New Yorker Justin Strauss, who has produced and mixed records and remixes for the likes of LCD Soundsystem, Beyonce, La Roux and Goldfrapp contributing a 'Whatever/Whatever' mix as part of the slick and hugely influential production duo he formed with Bryan Mette.
Already noticed for his remixes and array of collaborators and with several releases under his belt (including a track on the 'Bonjour Colette' compilation), Tokyo-based Yuki Abe AKA producer/DJ Boys Get Hurt gets his inspiration from the melancholic feelings the end of summer inevitably brings about, a personal and evocative sensibility in tune with the land of the rising sun's delicate culture. Yuki expertly crafts bouncy disco-house music with sprinklings of electronica, indie, ambient, hip-hop and R&B. Here he adds a mix with a loose and joyful feel that fits the sentiments of what Wild and Free represent perfectly.

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

Having recently signed to Brownswood Recordings, announced via new track 'I'll Be On Your Mind', Skinny Pelembe lines up his first single proper for the London imprint. 'Spit / Swallow' spans pastoral pop, psychedelic textures and hip-hop-tipped, chopped and spliced guitar, interlacings samples with rolling drum breaks and echoed falsettos. B-side 'Toy Shooter' follows in similar fashion, bridging psych-rock exaltation with beat-head, synth-jamming production.

Born in Johannesburg and raised in Doncaster, Skinny Pelembe is based in London. 'I'll Be On Your Mind' has been receiving radio support from Lauren Laverne on 6 Music, Huw Stevens on Radio 1, Jamz Supernova on 1xtra and Tom Ravenscroft on 6 Music, with previous single 'Seven Year Curse' picking up airplay on Benji B on Radio 1 and Gilles Peterson on 6 Music.

Peterson has shepherded his rise, first through his Future Bubblers programme for new artists, followed by his inclusion on legendary compilation series Brownswood Bubblers. He's been profiled by Pigeons & Planes and Clash, and 'Seven Year Curse' was supported in record shops like Rough Trade, Sounds of the Universe, Phonica and Sister Ray.

"Non semper erit aestas!" - wie Erasmus einst zu sagen pflegte, es wird nicht immer Sommer sein. Aber wir sprechen hier über Sommer mit einem s : Summers Sons! Ein aufstrebendes Hip Hop Duo bestehend aus den Brüdern Turt (Rap) und Slim. (Beats) aus London/Bristol. Charlie Tappin, der mit Turt auf Twit Ones letztem Album Hay Luv' vertreten war, steuert Keys und Vocals bei. Slim. hat bereits Beats über Brownswood Recordings, Benoffee Pies und KO-OP veröffentlicht.

Gili Yalos selbstbetiteltes Album verbindet verschiedene Facetten äthiopischer Musik mit James Brown und Mulatu Astatke, Soul und Funk der Siebziger, Psychedelia und Ethio-Jazz. Die Songs werden von einnehmenden Rhythmen getragen. Groove, Beat und Flow vermischen sich mit einem großen Schatz
betörender Melodien und den Lyrics, die Yalo mit seiner einzigartigen Stimme auf Englisch und Amharisch
vorträgt. Für dieses wirklich außergewöhnliche Ergebnis arbeitete Yalo mit den Produzenten Beno Hendler
(Balkan Beat Box) und Uri Brauner Kinrot (Boom Pam, Ouzo Bazooka) sowie vielen talentierten Musikern aus
der quirligen Musikszene von Tel Aviv zusammen. Zwei Jahre hat Yalo an den Songs geschrieben, getrieben
von dem Wunsch, seine Wurzeln und Vergangenheit im Hier und Jetzt zu verankern. Damit gleicht "Gili Yalo"
der kreativen Aufarbeitung seiner eigenen Biografie. Und die ist nicht ohne: In der geheimen Operation
Moses floh er mit einer Gruppe äthiopischer Juden 1984 während der Hungerkatastrophe im Sudan zu Fuß in
Flüchtlingscamps, durch die Wüste hin zum gelobten Land. Dabei sang er für seine Familie. Es war die
Musik, die ihnen die Kraft gab, weiterzugehen.

First official reissue of Nigerian Boogie Disco Grail LP produced by Grotto for EMI Nigeria and originally released in 1978. Contains dance classic'Bad city Girl'. Liner notes by Nigerian Music expert Uchenna Ikkone, include previously unpublished photos and extensive interviews by Temitope Kogbe.
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Odion Iruoje was the A&R manager at EMI at the time,' Benson says, and he auditioned us, liked he material and signed us.' Odion Iruoje of course had groomed and produced Ofege. Now he was looking to repeat the formula with other high school groups such as Tirogo, Apples and Question Mark. Grotto's deep rock would be a welcome addition to this schoolboy rock' series.
Work on their album started immediately, with Iruoje in the producer's chair. Adapting to the tastes of the times—as well as their own maturing musical sensibilities—Grotto started transitioning from acid rock towards sleeker, more dance floor-friendly grooves. As I grew older I think I got a bit jazzier,' Benson says. I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.'
Hard rock was the content of the first album,' Amenechi agrees, and funk/jazz/R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.' The group's second album, Grotto II: Wait... No Hurry (released in 1979) reflected the growing sophistication of its members' musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines, space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.

Copenhagen's Echocord Colour returns this August with Stephen Brown's 'Power Factor' EP, featuring three originals from the UK Techno stalwart.
Scottish producer Stephen Brown is a name synonymous with Techno across the globe having been releasing material since the mid nineties on imprints such as Derrick May's Transmat, Subject Detroit, Skudge Records, Ben Sims' Theory and Holland's Djax Up Beats amongst many more.
Here we see Brown join the roster of Echocord's sub-label Colour, slotting him in alongside the likes of Mike Dehnert, Nick Ho¨ppner, Luke Hess and Deadbeat in the back- catalogue.
Up first on the release is 'Sandtext', a stripped-back dubbed out opening cut fuelled by a robust kick and minute percussive hits running alongside a sturdy sub bass drive and spiralling dub stabs before 'Wet' takes things even deeper via muted kicks, shuffling shakers and delayed synth chords. 'Back Stroke' then rounds out the release with an amalgamation of airy reverberated stab hits, rumbling low end pulsations and a thunderous kick drum to once again create an understated, hypnotic composition.

140 gram vinyl 12" + sticker + MP3 download codeMoxie Presents Volume Two Sampler is the first physical release from Moxie's compilation series of the same name on her newly conceived 'On Loop' imprint. The compilation was released for free via Moxie's Soundcloud page in January 2016, and was met with rave reviews and radio support from the likes of Benji B, Gilles Peterson, Annie Mac and Toddla T.This sampler features 3 tracks taken from the compilation and an exclusive Dub of Medlar's 'In Dreams,' the original of which was a highlight on the compilation.