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A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T. Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio broadcasts... This 7” release is a remake of the African Blood classic A.I.E from 1975. It goes without saying that Monsieur Willy touched this one with respect, dignity and style but yet still pumped it up to the max. The afro beat driven Bonus Beat on the flip, again caters for the DJ to give them maximum freedom to express their skills and mixing creativity.

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed
of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T.
Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them
together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio
broadcasts...
Much more than a musical style above all, they defend a state of mind:
celebration, diversity, inclusivity, good vibrations and the spirit of the party.
They have release compilations through Universal and Warner Music and have their own label Funky
French League records.

For fans of Lettuce, The Motet, and Tauk! A power funk septet, Waiting on Mongo is an immersive experience that can only be described as a soulful journey that pushes the limits in the 4th dimension of psychedelic grooves. With strutting guitar riffs, transcendent horns, and heady organ depth, the live performances take you on a cathartic journey where you shed the weight of the world with everyone in attendance. Traversing the inner workings of the human soul, everything seems to be in its right place when the Mongo party hits full throttle. Waiting on Mongo has relentlessly displayed a level of musicianship that continues to impress both music critics and fans alike, winning awards in their hometown of Asbury Park for consecutive years. With a permeating aura of soulful energy, that illuminates every venue, the band is on a collision course for new locations to spread the love that is their music. Now they are set to release their brand-new album From The Top featuring the first single “Take Our Time” and other stand out tracks like “Do What you Want” and “Sick of the Woods”.

-Debut full-length album from Miami-based soul jazz trio Fat Produce. -Featuring musicians who played with The White Blinds, Scone Cash Players, Jungle Fire, War, The Bombillas. Featured in Relix Magazine’s April/May new artist spotlight to over 250k subscribers.
-Upcoming shows in California and Florida. F-Spot Records proudly presents the debut LP "Fresh Squeeze" from Miami-based soul jazz trio Fat Produce. Led by guitarist Addison Rifkind (The Soul Vaccinators) and drummer Michael Duffy (The White Blinds, Jungle Fire), this duo is joined by world-renowned bass player Rene Camacho (Poncho Sanchez, War) to bring you 14 all-new and original soul jazz instrumental cuts that's a guaranteed head-nodder from start to finish. When Rifkind and Duffy first met on a gig with organist Adam Scone (Scone Cash Players), both felt an instant chemistry musically, and the seeds of Fat Produce were born. In sharing their passion for classic soul jazz, in addition to funk and hip-hop, Rifkind and Duffy started to dive in, taking the idea of a guitar trio to new heights unlike anything you've heard before. After a year of playing gigs and honing their craft, both descended back to their hometown of Los Angeles, CA, to meet up with Rene Camacho and spend two days recording at The F-Spot HQ under the helm of producer and label owner David M Celia. Recording all live in one room to 1/2" tape, the resulting sessions truly captured the essence of Fat Produce's sound. Forced to be in the moment tracking live with no overdubs, "Fresh Squeeze" highlights the authentic tone and feeling from those two special days spent breathing new life into the guitar trio format. From the more straight-ahead soul jazz tunes like "Sticky Beets" and "Slick" to more outside-the-box cuts like "SON!" and the afrobeat-inspired "Afrenetic," rounded out with groove-focused compositions such as "Cadillac Converter," Grease on the Range," and "818 Don't Hate," this LP brings a variety of styles and feels, while all keeping it under the same umbrella of guitar, upright bass, and drums. Highlighting the chordal and melodic stylings of Addison Rifkind, the signature drum tone and feel of Michael Duffy, and tastefully executed playing from bassist Rene Camacho, "Fresh Squeeze" is the perfect sonic experience. From the first note on side A to the last hit on side B, it's a full sound, a timeless listen, and one slated to be on repeat for decades to come

(180gr vinyl) Dizzy Mandjeku & Odemba OK Allstars, the esteemed Congolese musical ensemble, joyfully announces the forthcoming release of their latest masterpiece, "Odemba Nostalgie - Rumba Congolaise," on vinyl format.



Dizzy Mandjeku is considered a living guitar legend. The guitar riff from Stromae’s Papaoutai, ten years on tour with Zap Mama and besties with Baloji. Over the years he has built up an entire repertoire with the greats of Congolese rumba. Cuban rumba was vibrant in Congo and it didn’t take long before traditional elements started to blend with modern instruments. With Franco Luambo and his band T.P.O.K. Jazz at the forefront, the music evolved into a brand new style called Rumba Odemba. Dizzy, having been a member of the T.P.O.K. Jazz later founded the Odemba OK Allstars in Brussels in order to keep th unique ‘Rumba Odemba’ alive.



As an hommage to Franco Luambo, Dizzy took six of songs he used to play with him and interweaved them into two medleys: ‘Odemba #1’ and ‘Odemba #2’.



"Odemba Nostalgie - Rumba Congolaise" pays homage to the timeless tradition of Congolese rumba. Guided by the expertise of producer Toms Ntale and mixer Vincent Kenis (Crammed Discs) the album delivers an authentic listening experience that transports listeners to the heart of Congo's vibrant music scene.



"Dizzy Mandjeku & Odemba OK Allstars bring pure Franco OK Jazz rumba to the stage - brassy, funky, soukous heaven, with the enduring sound of the 60’s and 70’s getting everyone dancing and whooping." - Songlines (Anita Scott)

French Chicago Techno imprint Ghettomania is back with a bang – including tracks from the mighty Paul Johnson & Traxman.

(Jam El Mar Remix) DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)



DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)’. A formidable duo when it comes to churning out mind bending techno and hard-edged grooves, these guys first got together in 2001 delivering the bouncy vibes of ‘Hard One’ followed by ‘Airport’ and ‘Funk That’, all of which got included on a raft of compilations and enjoyed by many around the world. Individually they are accomplished in their own right. Ghost is an iconic figure in Belgium and a stalwart within the Bonzai family. Robert Armani needs no introduction, ‘Circus Bells’, ‘Ambulance’, ‘Hit Hard’ anyone? Since the mid-eighties he’s been right up there with DJ greats, and in 1992 he started releasing his own brand of house, acid house and techno. Legend is an understatement when it comes to both these guys and we’re delighted to see them back at it in the studio once again.



The release opens with ‘Hit Hard Baby (WTF)’, introing with dark kick drums and raspy hi hats. Classic techno percussions weave intricate patterns as tension mounts, taking us to the break where hypnotic notes build alongside a snare roll to the drop and back to full-on dark mode for the duration. ‘The Underground’ is up next, combining sick techno grooves with massive rave stabs and murky acid lines. Powered by a solid drum arrangement that packs a punch, this one is destined for peak time greatness. The first of two versions of ‘H.O.H’ begins with the Original Mix. Keeping with darker tones of the release, this one goes straight for the jugular as chunky kicks and pulsating, mesmeric basses combine along with clangy percussions and a classic vocal hook that will destroy the dancefloor. Another legend joins us to round out the release with Jam El Mar stepping up for remix duties on ‘H.O.H’. Hailed as a pioneer of trance alongside the late great Mark Spoon, Jam El Mar remains a much-revered name on the scene and we know amazing things happen when he’s let loose in the studio. Ramping up the energy on this one Jame El Mar whips up a frenzy to get the crowd moving. Heavy hitting kicks with layers of rhythmic percussions get the toes tapping while gnarly techno basses and electrifying synths combine alongside that instantly recognisable vocal. A monster tune that is not to be missed.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight CASSIMM lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'LOVE DESIRE' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, CASSIMM yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

ountless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Straight Outta Belpaese, MORE disco – exotica – balearic- Italo-funk for the demanding digger!!!

In a flurry of madcap sampling pitched towards the heat of the night, Pedro Zopelar builds on the premise of his 2022 electro- funk love letter Charme, shifting his approach towards a particular

90s flair and a method with a specific end result. Ritmo Freak took root in studio experiments for a momentous — and rare — live set at São Paulo festival Não Existe in 2023, where Zopelar was caught up in one of those right-place, right- time moments we carry with us through life. As he explains himself: “This album is dedicated to freaky club culture. While I was playing at the festival there was a crazy tropical storm outside and the room was packed with the freakiest crowd. I’ve tried hard to immortalize that feeling on this record.” With the intended energy in mind, Zopelar focused on a particular mode of production centred around 12-bit sampling from his ample record collection. Considering his background as a trained pianist, here his musical instincts are forced to work within the limitations of short, snappy cuts from dusty 12”s. The lo-fi sound sources and the resourceful ways Zopelar works them gives the record an unmistakable old-skool flavour which he applies to forthright house, techno and electro funk rhythms, always taking care to draw out the soul of the music.

The stylistic touchstones flow past thick and fast on Ritmo Freak. From the amped up fierceness of the title track with its gaudy, cut n’ paste, vintage techno flavour to the effervescent electro funk of ‘Gabriellinha’s Boogie’ on to the surreal Balearic inversion of ‘Distraction’, this is a high-velocity, endlessly charming record bursting with the musicality Zopelar has made his name on. As the driving force behind many warehouse parties in São Paulo,

Zopelar has been immersed in club culture for a long time, and his distinctive catalogue of jazz, funk, acid and techno has graced highly respected labels like Apron, Selva Discos and Mother Tongue. Throughout, he’s displayed an affinity for the tangled roots of the groove with an open-eared, big-hearted sound. That’s what comes through on Ritmo Freak

2024 Repress

Funky Chicken brings together some of the best Belgian dance tracks from the early seventies. Emerged in a country where virtually every musical wave passes through, most of these tunes were created and recorded by hired guns, in this case a few clusters of gifted session musicians and composers. The music on Funky Chicken is their take on (afro-)funk, soul and Latin. Some of their releases were hit parade cannon fodder, but occasionaly, some spare studio time or the urgent need for a B-side allowed for memorable musical experiments.

Funky Chicken is a post-fact documentation, the result of a quest into a period on which information is few and far between, the 'black hole' in Belgium's history of popular music. The barren wasteland between the variety orchestras of the sixties and the electronic revolution of the late seventies and early eighties. This series explores the ground the dance pioneers built upon.

Backward Futura, exploring the sounds and vibes of 80’s and 90’s electronica thru the lenses of the new Millennium.

Third release courtesy of Rifeño.

Cinematic breaks and tropical bleep, the soundtrack for the Axel Foley of the new millennium.

Dubbed out new version of a Japanese reggae classic from 1982 by UK-based Tokyo Riddim Band. Recorded and mixed by the legendary Prince Fatty in South London, it's a fusion of past and present, East and West.
Three generations of female musicians from Japan come together, blending reggae drums, funky bass, and the smooth City Pop guitar, all magically dubbed-out live on stage. Tokyo Riddim Band is a culture clash phenomenon unlike anything else.

Championed by Gilles Peterson, and featured on NTS, Pitchfork and Bandcamp Daily, the group was born out of Time Capsule’s wildly popular compilation “Tokyo Riddim 1976-1985”. In just a matter of months they have sold out headline shows across London and supported Kyoto Jazz Massive at Jazz Cafe, conjuring a raucous, dubby dancefloor that brings the classic Japanese reggae sound of the ‘70s and ‘80s to life for a new generation.

Led by the inimitable pianist and composer Izumi ‘Mimi’ Kobayashi who featured on the original compilation, Tokyo Riddim Band are set to release a series of 7” singles in the coming months with more live shows planned throughout the summer 2024.

The first single, 'Denshi Lenzi', reinvents the Natural Mystic riddim of the original Japanese production, infusing it with dubbed-out vocals, sirens, and electrifying e-tom sounds, delivering an authentic reggae/dub experience with a distinct UK flair.

Nach einer phänomenalen Konzertreihe im Dezember 2022 zum 40. Jubiläum ihres Debütalbums "A Taste Of Pink" (1982) beschlossen die britischen Kult-Garage-Rocker The Prisoners neue Musik zu machen. "Morning Star", ihr erstes neues Album seit 1986, wurde in nur zwei Tagen in den Abbey Road Studios aufgenommen. Gegründet in der Spätphase des Mod-Revivals Anfang der 1980er, inspirierte ihr einzigartiger Sound aus 60er Garage-Punk (The Who) und Psychedelia (Small Faces), dem Groove von Booker T & The MGs und der Intensität der Punk-Bewegung eine ganze Generation zukünftiger Musiker von The Charlatans über Inspiral Carpets bis zu den Happy Mondays. Ihr Organist war/ist übrigens die spätere Jazz-Funk-Koryphäe James Taylor.

Influences from heavy bands of the time, such as Black Sabbath, Deep Purple and Steppenwolf are noticeable, with proto-doom and psych/funk undercurrents.

Do you like fuzz guitar? You're going to hear it screaming and wailing and building to epic tidal waves and crashes, the kinds of astonishing guitar cascades not heard since you cued up the best of all available live Jimi Hendrix recordings. Talking about a track known online as 'Bufo Gutturalis,' a poster's assessment: "I gotta say this is one of the most shocking songs from 60s, it's impressive how the sound can be heavy and dark -- it is also one of the earliest released songs most closely to call proto-doom."

Active since 2001, Ayyuka was one of the first bands to look back at 70’s Turkish music to find a new voice. Not caught up in the Retromania but reincarnating Turkish Psychedelic within their own style, the band managed to develop an unmistakeable unique sound. Inspirations of Dick Dale, John Frusciante, and local heroes like Erkin Koray, Orhan Gencebay, make their music more guitar oriented but their fascination with film music and improvisation creates unexpected twists within their songs. Right after their eponymous debut in 2007, the band shared stage with Sonic Youth and Jonathan Richman. Heading to a completely instrumental music, their 3rd studio recording “Sömester” had already become a cult album for record collectors. They’ve collaborated with Orlando Julius, Ilhan Ersahin and had guests on almost every album. Their latest full length “Maslak Halayı” was a creative collaboration with Calibro35 genius Tommaso Colliva. The worldwide hype of "Yukadans” will now be followed by their upcoming EP "Zaman Ziyan”, showcasing four brand new instrumental tracks that will transport listeners through a kaleidoscope of musical landscapes, experimenting with techniques of music writing and flirting with genres like afro-beat, funk, dub or arabesque. Save the date for their very first performance of these, live at babylon, as a part of Akbank Jazz Festival.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

For Twice Infinity’s second solo release, the London and Geneva-based DJ and producer GFX – one of the most active newcomers of the past years – makes his vinyl debut with the aptly named Vibing The Groove EP. His three original tracks span a wide array of playful, groovy, punching and driving techno that perfectly showcase GFX’s musical vision for the near future and mark a preliminary goal in his search for a unique musical expression since his release debut in 2020.

The B-side accompanies two remixes by equally exciting members of the next generation of producers; while the approach by Cuban techno activist Hioll is more to the point and made straight up for peak time sets, Manchester-based trance wunderkind Faster Horses explores his not so well know passion for funky and stepping contemporary techno.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

Swedens #1 techno legend The Source Experience aka Robert Leiner delivers this disturbingly fat acid techno 12'' on Borft that gets into your ears and brain like a locomotive straight from the rave days. On the A-side a crushing stripped down funky repetitive acid stonker that will spank old and young ravers like they were one big ass. B1 continues in a similar fashion but with a almost electro-ish backbeat instead of straight 4/4 and strong hints of classic EBM in the bassline and percussions. The hairs on my arms were standing up at this point. B2 is a weird surprise ending with a downtempo, strangely harmonic, melodic and almost romantic track which somehow reminds me of the Frak classic ''Uttoz gives a song''. If you are into Acid in any form this 12'' is a no brainer, a must have, a future classic. And make sure you have doubles so you can mix together A and B1 and extend them into eternity. 2024-01-18 Joakim Cosmo

Black Uhuru wurde Mitte der 70er Jahre gegründet und stürmte in den frühen 80er Jahren wirklich in die Reggae-Szene, als Sly & Robbie die künstlerische Leitung übernahmen und wichtige Alben wie Showcase, Sinsemilla, Red, Chill Out und Anthem produzierten (beachten Sie, dass es sich um eine großartige Sammlung ihrer Alben handelt). Singles für Sly & Robbies TAXI-Label sind auf TAXI TRAXX erhältlich und wurden letztes Jahr von TABOU1 veröffentlicht.

Die Alben waren nicht nur künstlerisch bahnbrechend, auch die Live-Shows waren großartig. Eine Lawine aus kraftvollem Drum and Bass, ergänzt durch grenzwertige Metal-Rock-Gitarren des verstorbenen Darryl Thompson, lieferte ein Fundament aus Rhythmus und Energie für Michael Roses Lead-Gesang und Duckie Simpsons und Puma Jones‘ Backing-Gesang.

Die erste US-Tournee von Black Uhuru fand 1982 statt. Damals steckte Reggae in den USA noch in den Kinderschuhen und es gab nur drei Reggae-Radiosendungen in Kalifornien: Doug Wendt in San Francisco, Roger Steffens in LA und Lance Linares in Santa Cruz. Lance leitete nicht nur seine Radiosendung bei KUSP, sondern buchte auch Künstler in Santa Cruz und arbeitete mit dem Soledad-Gefängnis zusammen, um Insassen dabei zu helfen, berufliche Fähigkeiten zu erwerben, die sie nach ihrer Entlassung aus dem Gefängnis nutzen könnten. Lance kontaktierte die Organisation Black Uhuru und bot an, ein Konzert im Gefängnis selbst zu organisieren. Zu seiner Überraschung wurde seine Idee begeistert angenommen und die Gruppe trat vor vollem Haus im Soledad-Gefängnis auf.

Was wir auf dieser Doppel-LP hören, ist das gesamte Konzert, das live auf KUSP übertragen wurde. Seine historische Bedeutung ist enorm und kann mit dem Reggae-Äquivalent der legendären Live-Aufnahme der amerikanischen Legende Johnny Cash in Folsom verglichen werden. Außerdem wurde das Konzert per Video aufgezeichnet. Wir haben das Video mit modernster Technologie restauriert und Schlüsselmomente des Konzerts kuratiert. Jedes dieser Videos kann mit der Artivive-Anwendung auf ein Smartphone gestreamt werden. Sobald die App installiert ist, können Benutzer die Videos ansehen, indem sie ihr Telefon auf die Fotos auf dem Plattencover (von Bruno Tilley) richten, die mit dem Artivive-Logo gekennzeichnet sind. TABOU1 ist stolz darauf, das erste Plattenlabel zu sein, das diese Augmented Reality-Funktion anbietet.

Introducing “Psyche Gems”, the Jakarta Records debut LP from LA based Rapper JUICEBOX & Norwegian producer duo Myeye. Debut LP “Psyche Gems,” a collaborative musical venture sparked by an impromptu Instagram jam session in 2021, is poised to mesmerize audiences. The brainchild of JUICEBOX, a versatile artist known for his roles as a singer, songwriter, rapper, and one half of the acclaimed group Figmore (with 10.4 Rog), “Psyche Gems” emerged from JUICEBOX's admiration for Simen Hallset's psych-pop band Gold Celeste (over 20 million Streams on Spotify). After reaching out to Simen, they swiftly connected with Henrik Norbakk, the other half of Myeye, igniting the genesis of the collaborative project. An Instagram jam session in 2021 gave sonic birth to LP “Psyche Gems”. Buttery vocals meet funky, soul-driven beats, meticulously recorded live, then chopped and repurposed to create an experience that transcends sonic definition. From vibrant head-nodding energy to lush beats seamlessly melded with an inimitable vocal delivery, “Psyche Gems” captures the essence of past and present, offering a kaleidoscope snapshot of life reflected through timeless grooves. The album's distinctive sound is characterized by meticulous layering, where each element is meticulously played, chopped, looped, and jammed over until achieving sonic perfection. United by their shared passion for old soul and jazz records, ‘90’s + ‘00’s hip hop, lo-fi indie, and psychedelic music, JUICEBOX and Myeye seamlessly fuse their diverse influences to craft a musical experience that resonates with listeners on a profound level. "We wanted to create something that inspires, provokes, and sheds light on the truths we all carry inside us," explains JUICEBOX. "Psyche Gems is more than just an album; it's an infinite journal entry of reflection, a testament to the power of music to illuminate the human experience."

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

Through his project Lionlimb, New York based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own-with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists-Angel Olsen, Ewa Synowiec, to Bion augil, nderstad ocal periora ne Bill bout vocal sad ate another instrument* he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes."

Die zweite LP des britischen Alt-Pop-Duos Dirty Nice - bestehend aus Charlie Pelling (Don't Hug Me I'm Scared) und dem in Lissabon lebenden Mark Thompson - folgt auf das vielgelobte Debüt "Lobster" (2021), Tourneen mit Dâm Funk, Elder Island und Cousin Kula und Kollaborationen mit Wet Leg, Desta French und Bad Sounds. "Surrenderland", inspiriert von Indie-Einflüssen der 2000er Jahre, ist sowohl physischer Ort wie auch Geisteszustand und erforscht Themen wie die freudige Akzeptanz des Selbst und das Aufwachsen, ohne dabei das innere Kind in sich zu unterdrücken.

"Driving By Numbers" ist bereits das achte Album der Hamburger Band HALMA. Schon beim ersten Stück des wieder instrumentalen Longplayers kommen die vier Musiker*innen Fiona McKenzie (Schlagzeug), Andreas Voss (Bariton-Gitarre), Gundi Voigt(Bass) und Thorsten Carstens (Gitarre) gleich zur Sache: Das Soundgefüge schmirgelt und fliegt - unmöglich, sich in dieser durchwogten Fülle des Hörbaren und Denkbaren sofort zurechtzufinden: Man muss erneut ansetzen, nochmal beginnen, um die komplexe Konstruktion und den artistischen Witz, der in dieser Musik steckt, zu erfassen. Sounds und Rhythmus spielen mit sich selbst Hase und Igel: Katapultstarts, Beschleunigungen, Verzögerungen, Auf- und Abblenden. Die Vielfalt macht klar, dass der Fokus der Band im Ungewissen liegt: Was zu hören ist, funktioniert wie die Brotkrümel im Hänsel-und-Gretel-Wald - die assoziativ montierten Improvisationen führen durch Höhen und Tiefen und Schluchten und Täler letztlich doch zum Ziel: und zwar zurück zum Anfang - wie die Nadeln, mit denen Insekten im Schaukasten fixiert sind - der Zeit entflogen.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Rapper Rudeboy and DJ DNA play the work of the legendary crossover band Urban Dance Squad. The group quickly broke through with their unique mix of funk, soul, jazz, punk, rock and hip hop. Their influence extended to bands like Rage Against the Machine, while
they were like-minded peers of The Beastie Boys and Red Hot Chili Peppers.

Worldwide tours, an impressive live reputation, and recognition in the United States, including invitations from David Bowie and U2 as support, have characterized their career.

If you love groove, irresistible basslines, and a sonic universe that dances between Italo house, Balearic, and funk, consider it as a new hit for your playlists:

“Euro Nettuno – Après Le Paradise” on POLYAMORE Records.

The first single is titled “Si Fua,” exotic rhythms blend with tropical sounds to produce Calypso vibes, yet charged with positive energy. Absolutely not to be missed is the remix by the well-established DJ and producer ELADO, who offers listeners a total immersion in drum solos that transform the dancefloor into a tribal dance.

The second single, on the other hand, is titled “Il Diavolo” (“The Devil”). Magic cults, esoteric sects, and dance floor devotees all come together for an unrestrained dance. The perfect fusion of house and Italo disco creates a true anthem for those who never stop when it’s time to dance. To close this fantastic EP, the remix of “Il Diavolo” by Marvin & Guy will teleport you on a mystical journey where dark yet colorful sounds alternate with a combination of astral rhythms that will lend sensuality and vigour to the powerful basslines of this remix.

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

Proper reissue of Ikebe Shakedown’s 2nd 45 Colemine is finally here! Newly remastered and now being pressed at Gotta Groove, the mid-tempo funky burner “No Answer” was an absolute standout track from their debut EP, Hard Steppin’. The flip features the same song, “No Answer”, done by labelmates The Jive Turkeys for a BATTLE RECORD SPECIAL!

Wewantsounds is delighted to announce the reissue of Ziad Rahbani's cult album "Amrak Seedna & Abtal Wa Harameyah," one of his praised albums from the 80s, released on the sought-after Lebanese label Relax-in in 1987. This release is an event as the album, recorded at Rahbani's By-Pass studio, was only released in Lebanon at the time. Mixing Arabic music with Funk and Fusion Jazz and hints of Boogie, it's a bonified Rahbani classic, sought after by Arabic groove DJs and collectors around the world. The reissue features audio remastered by Colorsound Studio in Paris and a 2 page insert with a new introduction by Mario Choueiry from Institut du Monde Arabe in Paris (English/French).

The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing.

Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists.

By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music.
Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK.

The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples.
A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives.

By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten.

Forest Green Vinyl

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

Following a short hiatus, Superlux Records returns for their 9th exploration into the expanses of house, techno, and electro by welcoming the exciting, emerging Dutch producer and DJ Mathijs Smit to their roster.

As soon as Smit grabbed the attention of the Superlux crew with his hybrid production style and trademark vocoder work, they knew these were earworms destined for their catalog. Marking his first solo EP since 2021, Smit showcases his development In the studio on the 'Twisted Minds' EP with four modern, stylish house cuts loaded with versatility for use from peak time to warm up.

The release starts as it means to go on with 'Changed My Mind (But Not Myself).' A sleek, forward-thinking house jam that salutes to the past with a fast-paced, organ bass melody and intricate drum-machine programming, setting the tone nicely for what's to follow. The A-side wraps up with 'My Mind Is Yours'. Shades of golden-era Italian progressive to this one, a straight no-nonsense feel-good party starter; mark your cards for summer.

On the flip, we get deeper into the groove starting with 'Plugger'. A shuffling beat underscores a moodier bassline with acid flourishes to give this one a bit more of a basement feel, although the bright synths do leave enough versatility in this one to work in multiple settings; a testament to Smit's dexterity on the buttons! Closing out proceedings is the interminably funky 'Quiero, ' the last track submitted by Smit, which is suitably the one to close out a seriously impressive debut on the imprint.

The release continues Superlux's proud lineage of discerning dance music, with Smit being a welcome addition to a roster already sporting the quality of N-GYNN, Paul Blackford, LVCA & Thoma Bulwer. Expect more as the label continues its development in 2024 and beyond.