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Fake Society is proud to present the seventh release of the label! 3 minimal oriented original tracks that vary in different subgenres by the talented Dutchman Joren Edwards with a special Ion Ludwig Remix, for the later hours of the night, as the cherry on top! This one is not be missed. Supported by Ricardo Villalobos, Raresh, Praslea, Rhadoo and many others..

Soom T aka “The Raggamuffin Queen” will release her sixth studio album “The Louder The Better” on October 13, 2023. A combination of live band studio recordings and digital compositions, it took only 3 years to fully realize from the very first live band recordings in Brazil during the 2020 pandemic to its release this year. Entirely self-produced with her own music label Renegade Masters with Kunta as executive producer, Soom T called on her most trusted collaborators to produce this new Reggae/Dub gem, and it’s sunnier than ever.

“Path of the Wanderer” with its poignant and deeply emotive vocal, irresistible rolling bass line and driving rhythm was composed by French production maestro Tom Fire with “Ezekiel’s Vision” and “Michael” being the fruits of live band recordings at Pangea Studios in Sao Paolo Brazil under the skilled direction of Mauro Rabello.

“Fly My Bird” and sunny pop anthem “Good Will Come” are original compositions by Terry Vibes out of the USA while “Bad Road”,“Emergency” and “Normal People” were stylised digital productions by France’s own Dr Bud reminiscing on Soom T’s first love of digital. Additional synths were added by executive producer Kunta and studio partner Green Teddy of Highly Seen.

“Prophets”, “Free the Man”, “There is love”, “No worries” and “Don’t Make Me” composed and curated by Christian Cowlin who is the live sound engineer for The Wailers USA, takes the journey into a more roots direction with some solid harmonies and flashbacks to a bygone era. Many of the instruments on these songs were performed by Mr Cowlin himself among other seasoned musicians and recorded at his studio in the UK. Led by her great respect for activists whose aims and efforts are rooted in making society movw forward with dignity and honour, Soom T denounces the incarceration of businessman/politician Schaeffer Cox, unjust in her eyes and tens of thousands of others globally, in a call to “Free the Man”.

If “The Louder The Better” has definite roots influences, “Like a Dog” composed by French label and music production studio Irie Ites and “Walk the Earth” performed by legendary British drum & bass duo Mafia & Fluxy, added some more digital delight alongside a sweet roots trip for the listener to indulge in a medley soup of varying influences throughout this album, mixed by Mista Maff and mastered by Simon Capony at Basalte Studio.

« Hail to the Watchman », an easy favourite for more traditional reggae lovers was composed by Kunta in conjunction with Green Teddy, both of whom contributed to the production of the 2017 ‘Arch’ LP.

Finally, with this new reggae album, Soom T sticks to what is closest to her heart covering a multitude of topics from the corrupt state of the world, to the emptiness of politics and the urgent need to awaken to the reality of the condition of society.

Behind the need to inform and urge society moving forward, « The Louder The Better » delivers a positive and inspiring message, led by melodies and vocals at the crossroads of genres, that fans will love to listen to at any time.

See you on October 13, 2023 to discover this new opus by Soom T.

At times where technology inexorably infuses into humankind, Ammar808’s next adventures lays within the realms of Stambeli’s invisible creatures, an old genuine Tunisian tradition that has roots spreading out within the depths of the African continent.

Stambeli is a Tunisian musical therapeutic ritual that was implanted by afro-descendant communities. During the ceremonies, music, dance and chants are blended so as for some participants to reach the alternate state of trance while they are possessed by super natural entities. It is a syncretism between Islam and animist Yorisha religion’s voodoo beliefs, that has been disseminated during slave trade by Yoruba populations originating from current Benin’s gulf. Stambeli is a precious legacy the symbolizes the outstanding diversity and complexity of the North-African identity.

Using drum machines and analog synthesizers, he summons super natural creatures to visit our material world and taste human incarnations, form the audience’s collective experience. The album features vocals and gumbri from Bellassan Mihoub, who inherited his father’s knowledge and mastery, and currently embodies the avant-guarde of Stambeli’s revival. Two additional choristers round off the stage band, also playing the krekebs: these are pairs of large castagnet-like instruments oscillating in the limbo between binary and ternary rhythmic patterns. They breathe life and motion into this pagan communion, blessed by VJ Sia original visuals synchronized to the thundering music.

Super Stambeli is a contemporary interpretation of the Stambeli traditional repertoire, processed through a time-travel washing-machine, a parallel-dimension earthquake portal, that aims to echoes ancestral ceremonies through sub-harmonic speakers. It’s a dialogue between the wailing of the gombri, known to call for the spirits to descend into the bodies of the participants, but this time AMMAR808 directs them straight into the digital circuits of his clockwork-crafted machineries.

Polish septet EABS apply an innovatve approach to jazz, distlling it
through the prism of hip-hop, blending it with elements of soul, funk and electronic music. ‘Slavic Spirits’ was 2 years in the making and contains 100% original material. They are joined by 22a head-honcho Tenderlonious who lends his exceptonal soprano saxophone and flute playing to all seven tracks.
Afer their very well-received 2017 debut album ‘Repettons (Leters to Krzysztof Komeda)’, focusing on the lesser-known works of the legendary Polish composer, the Wroclaw-based EABS decided to further expand this lead and released two more vinyl records, ‘Live At Jazz Club Hipnoza (Katowice)’ and ‘Kraksa / Svantetc’, the later recorded directly on tape and released via 22a, which crowned the “Kom eda triptych”. The astounding recepton of these releases built up loyal following outside of their natve Poland and whet listeners’ appette for completely new recordings.
For this LP the musicians turned to Slavic mythology and Polish demonology, while pondering upon the contemporary spiritual conditon of Poles. The enigmatc “Slavic melancholy” remains the main inspiraton, as the band tried to extract it from their own DNA. ‘Slavic Spirits’ is an endeavour to get in touch with the world of a long and brutally lost culture which, due to lack of sources, will never be thoroughly explored.
Personnel: Marek Pedziwiatr (piano, synths & vocal), Vojto Monteur (guitar), Pawel Stachowiak (bass), Jakub Kurek (trumpet), Olaf Wegier (tenor saxophone), Marcin Rak (drums), Spisek Jednego (samples, sound fx & percussion), special guest: Tenderlonious (soprano saxophone & flute)

What comprises a dream?

An astral plane of our own making where thoughts, love, and desires of the inner mind abound with irreverence - ripe with connection & perspective beyond constraints of time, set, and setting.

Azu Tiwaline exists within the wonders of these interstitial worlds, diving deeper towards inner sanctums of mystic imagination, sublime intrigue, & profound understanding on her second full length LP “The Fifth Dream”.

Released again through her beloved partnership with I.O.T Records, “The Fifth Dream” finds Azu painting an expansive vision towards unified multitudes, mercurial realities, & abundant inner sanctums.

Where her first album “Draw Me a Silence” was a loving ode to her family & upbringing in the form of an elegant diptych, “The Fifth Dream" is the enactment of actualizing her roots into new routes, taking her multifaceted identity into new means of communication towards herself, the world, & the cosmic unknowns that surround her.

Throughout The Fifth Dream’s 54-minute runtime, we hear all elements of the uniquely transcendental sound that Azu is beloved for worldwide. “Antennae Opening”, “Blowing Flow”, & “Amen Dub” embody her talents for tectonic, dubwise soundscapes that channel the innately maternal elements of bassweight into bold & abstracted pulsations, indebted to the most psychedelic & body activating ends of dubstep.

Still attuned to the spatial awareness of dub sonics but giving way to the hypnotic syncopation & synaptic frequencies of techno, “Reptilian Waves”, “Long Hypnosis”, & “Mei Long” bring forth her spectacular expertise for entheogenic rave rhythms - guiding us warmly towards trance-inducing hyper states of dance & delight. Fluctuating between an adventurous velocity and enveloping stasis, the expansive abyssal planes of “Golden Dawn”, “Night in Palm Tree”, & “Canope Imaginaire” conjures a wondrously invigorating rhythmic enlightenment & celestial comprehension - simultaneously moving us forward, inwards, & outwards through Azu’s uniquely omnidirectional & kaleidoscopic musical visions.

Adorned with sampled field recordings of her deeply inspiring home in the desert of El Djerid in South Tunisia, Azu opens a portal into the synergistic inner sanctums of being, self, and the world around us that’s essential to her work as an artist - from the macro levels of humanity’s naturally intimate connection to the Earth we share, down to each of our own micro levels of culture, ancestry, and belonging. All of this is alchemized through a combination of timeless Saharan knowledge & modern cybernetic tools, creating new dimensions of bewitching, euphonious sonic energy. This is music that gives back as much as the listener wants to give themselves unto it - detailed and layered, orbiting a steady core as ethereal swirls and intonations of the natural world embrace us warmly within a spellbinding journey.

8 of the album’s 9 tracks feature a deep level of collaboration from innovative Franco-Iranian percussionist Cinna Peyghamy. Cinna’s use of Tombak, the principle drum of Iranian music throughout time, is beautifully sonorous - channeling the passion of centuries of Southwest Asian rhythm & expression into his own personalized flourishes, with Azu adding her own electrifying frequencies & undiluted artistic freedom to their shared interplay. This profoundly communicative diasporic essence is transmuted between Azu & Cinna, their expression, & the listener. Both are music lovers, intimately connected to their respected Iranian and Tunisian cultures - concurrently acknowledging the wisdom of their resonant pasts, while proudly bringing the sounds of their heritage into the present & future.

“The Fifth Dream” embodies a cosmic anodyne for those feeling caught in between life’s abyssal inbetweens, whilst aiming for a consonant awareness of where our home truly lies in the swells of life’s spiritual maelstrom. This dream belongs at once to none & to many, that of a common language unified in concentric depth - finding beauty in all aspects of our world, and ultimately, within oneself.

It’s clear, when looking at Jlin’s body of work, and her recent activities, that she's the definition of what a creative composer looks and sounds like in 2023. She’s able to work across borders in many different environments and situations. Her work, and sound, is fluid and not locked into genre. The only apt tag for her now is ‘composer.’ Let’s be clear - she’s not EDM, IDM, electronic, footwork or post-footwork. She’s simply Jlin.

In thinking about this new release we have to draw attention to her collaboration with Chicago’s Third Coast Percussion - ‘Perspective’ - since it’s also the title of this six-track mini-album. And of course, we’d be remit if we didn’t point out that Third Coast Percussion’s acoustic version of ‘Perspective’ saw Jlin shortlisted as a finalist for The 2023 Pulitzer Prize in Music! Jlin notes how “Working with T.C.P. was a rewarding experience. I love their constant driving ambition. When I would go to their studio we would experiment as much as we could, and that to me is the beauty of composing.” Note that the CD version of ‘Perspective’ adds the four tracks from her ‘Embryo’ EP, apt since ‘Embryo’ itself was the 7th Perspective piece.

To shift perspective slightly, Jlin notes that collaborating with dance companies, especially those of Wayne McGregor and Kyle Abraham “has seen a significant evolution in my work.” She adds, “Working with Kyle and AIM, I felt the need to incorporate more organic percussion and drums. The raw, visceral nature of Kyle's choreography demanded a more tactile, grounded sound. I believe that music and dance are deeply interconnected, and the rhythm and physicality of organic percussion needs to mirror the dancers' movements whether it is conceptually or abstract.”

The organic aspect of her composition ‘Dissonance,’ a key cut on her new mini-album sounds like it might have been written for Kyle and AIM but, like the entire release, it was in fact written for Third Coast Percussion. With the organic drums in the track being a part of what Jlin calls her “from scratch” foundation. For many ‘Dissonance’ will be a first glimpse at Jlin’s mastery of organic sounds. It’s a stunning work that showcases her distinct approach to organic percussion. Further audible evidence can also be heard all over her new mini-album. She continues to evolve her sound and her approaches to composition on a steady and constant basis.

Jlin’s new mini-album “Perspective” works as a catch-up for those wanting new music from her, and wanting to hear how her sound is evolving. Tune in. There’s much more ahead.

A bold first creation set in motion, Yore is the fantastic debut solo release from Charlie Hill. Yore captures the excitement and naïve creativity of Charlie’s new journey as a producer after studying and performing as a jazz drummer.

A mixture of club-ready basslines, earthy space funk and ethereal Trip Hop, Yore follows Charlie’s 2023 collaborative Galaxy EP alongside fellow Meanjin producer Sampology.

Middle Name Records are proud to present this project, the first release on the imprint that is not of a solo or collaborative Sampology record.

There is an exciting energy currently bubbling within the Meanjin/Brisbane music scene and Charlie’s debut work as a producer has reflected this instinctively. Recorded performances from local jazz ensembles, his vocalist singer as well as his own drumming were utilised as samples throughout the EP.

Repress!

Originally released in 1973, Black Pearl’s overall sound is the epitome of cool, orchestral funk / dramatic styles of the 1970s (e.g. “Next Stop LA”, “Collect”, “Oh! Militia”, “Choctaw”, “Black Pearl”, and “Blue Shadow”). Also featured are several more romantic, laid-back, emotive pieces such as “Miraculous Dream”, “Tryst”, “Sunny Monday”, “Melody and Lace”, “Monochrome”, “No Return”. Not to mention a couple of surprise solo honky-tonk piano jaunts – “The Vamp” and “Night of the Garter”.An eclectic mix that is sure to pique anyone’s interest. The album was produced by Alan Parker and Alan Hawkshaw, who is perhaps best-known for composing “The Champ”, which has been widely sampled and emulated by hip hop artists.“Library records are a collection of little one-minute pieces for soundtracks recorded by session musicians for movies, TV, student films, whatever. I don’t actually know the story behind when, why, or where they were made but…there were a bunch of different labels that made them and still probably do, and I was on the hunt for any recorded between 1969 and 1976. They all have random song titles like “Bouncy Strut” with descriptions like “hard-driving beat with percussion.” So imagine how much funky shit is on them. For me, De Wolfe Music was the best.”– Adam “Ad-Rock” Horovitz of the Beastie Boys

IZIPHO SOUL are thrilled to announce the 7” release of the Modern Gospel Soul Banger JESUS MAKES ME HAPPY by RICHARD HARTLEY & SOUL RESURRECTION - Presented on vinyl is ‘The Joyful Exaltation
Edit’, this excludes the rap from the original version.
On the flip side, HEART AND SOUL, a ballad of epic proportions that builds and builds with the finale possessing some of the most gut wrenching vocals you are ever likely to hear. Richard states towards the end that ‘I should be fading
right now’, but finds the strength to come back one more time!

These tracks are taken from the album Face II Face from 2007, the CD is virtually invisible - Discogs history reveals no sales.

Richard Hartley has had a prolific career as a singer and musical director, travelling across the world to work with choirs and musical icons such as Aretha Franklin and Diana Ross. He is pastor
at Haven International Ministries, New York and star of his own reality television show ‘The Rev’.

Got dust? Krash Slaughta has. In fact, for him, Everything’s Turning Up Dusty right about now. Surely this can’t be his brand-new double-vinyl LP journey into sound which finally realises an ambition to create a cut n paste opus held since his pre-turntable days of pause-button mixes? It certainly can! The project comes in four parts corresponding to four sides of 12″ vinyl which weigh in at approximately fifteen minutes each and each side of which took around a month to make!

Man, that is epic! When did he ever get the time and concentration to put such a beast together? Wait – are we talking about yet another Krash Slaughta lockdown project? We are! And this bad boy stitches together vintage vocal loops, rare breaks, library records and obscure samples along with remixes of Stetsasonic, O.C., Tanya Winley, Jurassic 5, Edan, Nas, ODB, Gang Starr, Super Lover Cee & Casanova Rud (any one of which would be straight fire on 7″or 12″) along with pretty much whatever the hell else he wanted to put on there. Pressed at 45 rpm, this one features two differently-coloured slabs of wax: one mauve and one blue while even the centre labels and cover art get in on the cut n paste vibe having been created by hand by Krash homie Saleem Andrew McGroarty. As with previous such efforts from the KS camp, there will be no re-press! Sleep at your peril.

Voted DJ Mag’s Underground Hero in 2022, DJ & producer Lauren Flax has been a fixture in Brooklyn’s electronic scene for two decades. On her latest project Liz & Lauren EP, she teams up with Liz Wight of shoegaze techno duo Pale Blue, whose sultry vocals explore questions of love and isolation to the tune of Detroit house and acidic techno.

Flax and Wight became fast friends in 2021 after being introduced by Pale Blue member & 2MR co-founder Mike Simonetti, who’d enlisted Flax to remix Pale Blue’s “Breathe.” Naturally, when Flax needed a vocalist for some tracks she was working on shortly after, she knew just who to call. “I was in my last year of grad school doing an internship in community mental health helping kids cope with the trauma of the pandemic,” Wight says of the time. She channelled this experience as she wrote and recorded the lyrics to Liz & Lauren EP from her home in Los Angeles.

As a result, the lyrics on Liz & Lauren EP are open-ended musings on connection, isolation, and convention. Lead single “Fix Everything” can be read both as an indictment of the trappings of marriage or, on Flax’s view, a rousing call to action, applicable to issues ranging from the degradation of the environment to the attack on LGBTQ+ rights in America. As the EP progresses, Wight’s airy vocals consider the pitfalls of love, from the destructive power of infatuation to the pain of outgrowing a relationship.

Sonically, Liz & Lauren EP feels like a natural progression from Flax’s first release on 2MR, 2021’s Out Of Reality, which saw her exploring a more minimalist production style for the first time in her work. “I Don’t Want To Hurt You” and “Fix Everything” pulse with bright, dynamic production, while slow burner “Return To Love” takes a sparser approach, anchored by a muted drumbeat and a simple, earworm synth refrain. “I’d Risk It All To Be With You” is a masterful balance of both; it even gets the club treatment on the EP’s closing remix, courtesy of Flax’s friends Mark Archer and Simon Neale (Shadow Child) of MASC.

Liz & Lauren EP is an impassioned collection that showcases both Flax and Wight’s artistry in equal measure. For both artists, it’s a testament to stepping outside the norm (DJing for Flax, performing in Pale Blue for Wight) and collaborating with others, the fruits of which are sure to be felt on the dancefloor for years to come.

180g Vinyl Only
no repress, no digital promotion

E-Talking crashes onto Love On The Rocks with a 4-track EP that’s weirder, faster and harder than anything Paramida’s ever-evolving imprint has put out to date; pushing the label into new territory that’s simultaneously unexpected and unmistakably true-to-form.

The Berlin-via London-based French producer, one half of the duo & collective Nummer, released his studio debut on AD93 in 2018 and his first album on Going Good in 2021, with productions that are dense, intricate and intoxicating, overflowing with ideas and effortless finesse, qualities all on display on this EP in otherworldly abundance.

The ‘Cosmic Egg’ refers to our modern understanding of the universe as ever-expanding; extrapolated backwards in time, it implies a finite starting-time and a small starting-place, from which the entire cosmos metaphorically hatched.

‘Pads & Frogs’ finds E-Talking in the midst of this process; slowly awakening to find himself up to his eyeballs in a shimmering psychedelic rainforest, awash with swirling pads, lush percussion, tripped-out inter-species vocals and tribal rhythms, building and looping into each other in a joyous dance of life-giving. A cosmic field recording from the incubation of this special egg, recorded somewhere between whatever passes for a rainforest in Berlin and deep, infinite space, sat upon lovingly and diligently by Paramida and Alex while in the process of developing a close friendship with its birth-mother – the three of them keeping it collectively warm and preparing to hatch since early lockdown days.

The time, motherfuckers, is now. After a warm, fuzzy beginning, of course, comes a huge, shattering explosion: ‘Rise Up’ is the EP’s first big leap into new territory, turning up the pace considerably and wasting no time in serving up some seriously pounding cosmic techno, LOTR-style, with some unexpected twists and turns halfway through. It’s all in the switches and details here, and they are so good you will want to literally get naked and lick your speakers for momentary sonic relief.

Unfortunately for you, ‘Life Begins Now’ doesn’t let up, proceeding with the same intensity but a more house sensibility, with layers of percussion and grooves building off each other into a drop which could easily carry the track, but is really just a tease for another twist that sends this one off fully into intricate, exquisite orbit. ‘Neidan’ brings us slowly back to Earth for another slamming house workout with all the hallmarks of a future LOTR classic: sun on the horizon, cosmic energy to infinity, all your friends together on the dance floor. It doesn’t get better than this.

Previously, the universe was thought of as eternally old, with no start and no growth. Boring. This EP exemplifies just how wrong that is: an adrenaline-fuelled salute to the constant creative expansion of the universe, and all the weird beings who inhabit it.

Pauline Hogstrand's music – and Áhkká, in particular – is deeply inspired by both inner and outer influences, by the mystical as well as the rock-solid, by fictitious conversations and the queen mountain of Lappland (Áhkká).

Meaning "the old lady" in Lule Sámi, Áhkká is a barren, wild, exciting, beautiful, and sometimes grumpy mountain regardless of the season. Over the years, the mountain peaks, moss, birch forests, paths, streams, birds and people have shaped the surroundings, and the massif changed them in return - a reflection of a constantly ongoing development and emerging into greatness, surrounding and within. Speaking about why this mountain is so dear to her, the Denmark-based musician shares: "The nature there is harsh and raw and you can easily feel how it's so much bigger than you. Some people might feel overwhelmed or intimidated, but I feel that when acknowledging the greatness and the power nature consists, I can feel one with it. We come from the same source: I am a part of universe, and universe a part of me."

The music appearing on Áhkká (the album) simulates the dualities of ascent and descent, tension and release, inhale and exhale. Through implementing extended structures for analog and digital synthesis and processed acoustic instrumentations – strings, recorder, pipes and field recordings – Hogstrand expertly navigates these dual motions across two side-long pieces.

The opening "Herein" is slow, difficult, at times jagged and unwelcoming; just like climbing up a mountain early in the morning. Hogstrand shares that this piece is "about surrendering and letting go of control", especially during the last 10 minutes of the track which consist almost solely of an insistent and pulsating drone leading you to no man's land. "Magnitude" offers a release, glimpses of beauty, a softer, easier presence; descending, you're able to see beauty where previously you saw obstacles, perhaps the sun is up, breathtaking views in every direction... This piece is "about all that becomes available after letting go. Suddenly sight clears up in front of your eyes," shares the Swedish composer.

The magic ultimately lies in Hogstrand's perception and portrayal of contrasts – she does not view the two as opposites, but as one reality. "One greatness is not compromised by another greatness." In fact, the opposite is true – one without the other loses meaning, depth and context.

Jaga Jazzists legendäres zweites Album, „The Stix“, kombiniert die digitale Dancefloor-Affinität ihres Debüts mit der Ausgelassenheit, Wärme und dem Fluss ihrer Live-Shows. Mit ihren stilvollen Produktionen, ihrer mitreißenden Bühnenpräsenz und ihren internationalen Einflüssen, die aus Hoxton über Oslo bis nach Berlin reichen, wurden sie schnell zu einer der beliebtesten Bands des erweiterten Jazz-Genres.

Im Jahr seit ihrem Debüt haben Jaga Jazzist weltweit einen großen Eindruck hinterlassen, insbesondere aber im vereinigten Königreich: die Debütsingle, „Going Down“, wurde damals vom NME zur 12“ der Woche gekürt, wurde u.a. vom jungen Gilles Peterson angepriesen und war eine von Muziks Singles des Jahres - und war folglich sofort ausverkauft. Und nun aber endlich wieder auf Vinyl erhältlich, en detail auf - wie bei Ninja Tune-Releases der Umwelt zuliebe seit einigen Jahren üblich - nicht auf 180 g sondern auf 140 g schwerem und rot-orange schimmernden Vinyl in einem 2LP-Gehäuse mit bedruckten Papp-Innenhüllen und einer 12" Reverseboard-Gatefold-Hülle.