Cerca:da move

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Charismatic trombonist and pianist Malcolm Jiyane debut album as frontman is more than merely one individual’s breakthrough. Workshopped and recorded within two days in Johannesburg, UMDALI stretches the idea of what it means to improvise within the context of jazz.

Operating from the fringes of the South African jazz scene, the enigmatic yet charismatic trombonist and pianist Malcolm Jiyane delivers a major contribution to the canon -- one shaped around dedications to key figures in his personal and professional life. Several years ago, Jiyane was dealing with the death of a band member, the birth of a daughter and the passing of his beloved mentor Johnny Mekoa, founder of the Music Academy of Gauteng, which Jiyane attended from a young age. These life-altering events give shape to the music’s emotional register and its thematic concerns.

In Black Music, his book of essays and critiques, Amiri Baraka makes the point that jazz musicians, be it in the construction of solos or in other aspects of composition, always draw on the works of their contemporaries or elders. How much outsiders pick up on that is really dependent on how au fait they are with the music. In this album, Jiyane finds comfort in this well-trodden path. Two songs make for great examples. Umkhumbi kaMa, a jazzfunk track celebrating the creative force as inhabited by women, the motif to Herbie Hancock’s Ostinato (Suite for Angela) is a clear reference, connecting in one swift move, not only the musical traditions of the Black Atlantic but also the struggles and triumphs of women across space and time. On the same note, the free-form Solomon, Tsietsi & Khotso, conjured in the same jam session that yielded SPAZA’s UPRIZE!, appears here in a more fleshed out form as Senzo seNkosi; a tender dedication to Malcolm Jiyane Tree-O bass player Senzo Nxumalo.

Jiyane’s path to the realisation of his debut album as frontman is more than merely one individual’s breakthrough. Workshopped and recorded within two days in Johannesburg, UMDALI, not unlike Miles Davis’ landmark Kind of Blue, stretches our idea of what it means to improvise within the context of jazz.

Morrice is no less than a pioneer of Portuguese techno, churning out high-octane bangers and rave-tinged rollers alike from his hometown of Porto since the mid 90s. Lucky for us he didn't slow down, and his fresh offerings are as enticing as ever - we got our hands on some of the finest crop of Morrice's characteristically deranged, sonic techno and 'Back on Tracks' was born.

One can hear the realness of a legend-worthy path in dance music in every tough beat and in every bass line twist and turn: the opener 'Dirty Smack' is a raw, no-frills mutant banger that will throw even the most bashful raver into a frenzy, reminding us all why we miss dancing together so much. 'Stress Will Kill You' is a tense, paranoid techno roller featuring a super effective lead over an economic but super banging technoid beat&bass. 'Synth Lies' is another trip recalling Midwest movements and exuberant composers like Poindexter.

On the flip, you'll find the soulful depths of a warm 'Doctor' as well as the wonderfully Detroitian-via-Douro dream of 'Acorda', all silky pads and stabs. The record closes with a 'Dirty Smack' remix by Paraíso regular Violet who infuses the original with broken rhythms and percussive highlights.

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

"As one of the instigators of the UK 2-Step sound that paved the way for the seminal movements in Dubstep and Grime, Zed Bias, aka Maddslinky, is a true pioneer and stands as one the Godfathers of the UK Bass scene. With a prolific career spanning more than two decades, we’re honoured to welcome him into the Unchained family with his debut release on the label.

His powerful 4-track EP echoes both cutting edge modern electronic as well as the nostalgia of UK dance history. All tracks wander into upper BPM territory and sonically span very wide ground; whether this be “Beijing”, a track sure to carve itself a place in classic anthem history; or “Doen�a Tropical”, a tune which draws new broken-beat boundaries around the 160bpm ethos.

Two tracks feature collaborations with Strategy and Bugz In the Attic’s G Force - both music defining legends in their own right.

Spanning both the Drum’N’Bass universe and thought-provoking left-field bass, we hope this fresh release has you covered from club to couch."

Joanne Shaw Taylor is a British blues rock singer/guitarist who was
discovered by Dave Stewart of The Eurythmics at the age of 16
She has released 7 albums. Her new album, The Blues Album, was recorded by
Joe Bonamassa & Josh Smith for Keeping The Blues Alive Records.
Born in the Black Country Joanne has spent a decade releasing increasingly
successful albums and touring the world. Along the way, she has won over fans
from Joe Bonamassa to Stevie Wonder to Annie Lennox. A decade ago, Joanne
moved to Detroit as her career in the States was developing. Joanne has
recorded for RUF, Sony and Silvertone with Reckless Heart and Wild both charting
in the top 20 in the UK.

Joanne Shaw Taylor is a British blues rock singer/guitarist who was
discovered by Dave Stewart of The Eurythmics at the age of 16
She has released 7 albums. Her new album, The Blues Album, was recorded by
Joe Bonamassa & Josh Smith for Keeping The Blues Alive Records.
Born in the Black Country Joanne has spent a decade releasing increasingly
successful albums and touring the world. Along the way, she has won over fans
from Joe Bonamassa to Stevie Wonder to Annie Lennox. A decade ago, Joanne
moved to Detroit as her career in the States was developing. Joanne has
recorded for RUF, Sony and Silvertone with Reckless Heart and Wild both charting
in the top 20 in the UK.

With his first release as EBM outfit Voltage Control on Antler Subway in 1989, Utrecht-based Arno Peeters can easily be considered one of the Dutch Dance pioneers.
Influenced by hip hop, electro and acid house, and his uncontrollable urge to experiment, he moved on to produce techno. Disappointed by the genre s conventions, he rather suddenly stopped with dance music altogether around 1995, letting a wealth of DATs with unreleased material collect dust in his studio.
To our great pleasure, U-TRAX was allowed to pick some nuggets from these archives, resulting in this Titanic EP and an album later this year.

Arno started experimenting with sound at very young age, resulting in his first cassette releases with experimental soundscapes in 1983. In 1986 he joined the notable Centre for Electronic Music (CEM), where he was able to take his experiments to a new level in a professional studio-environment.
In his techno episode , he recorded several 12 -es and CDs as Sp@sms and The Implant, and as part of Random XS, Urban Electro, African Nightflight and The AWAX Foundation, with most of his records being released on the famous DJAX label.
After turning his back on techno, he applied himself to more experimental music again. In 1996, he created AeroSon, a 40-minute sound collage that won him the first prize in the category Composers Under 30 at a high-brow international contest for electro-acoustic music. This piece was later released on the prestigious Mille Plateaux label.

Since then, his focus has shifted away from releasing music, towards working more project-based: on remixes, compilations and interactive (installations, video, sound design), building himself a successful career as radio maker, teacher and engineer, contributing to several award-winning documentaries and podcasts.
This EP is a nice cross section of Arno s dance productions, serving you some acid, techno and electro.

Titanic V1 was originally created to be a Random XS track, the techno band he formed in 1991 with Sander Friedeman. It was performed during their live set at one of the G.U.R.U. parties, organized by U-TRAX label boss DJ White Delight and label artist P.A. Presents.
This acid track was remixed into a techno monster when Friedeman replaced the 303 with a 101 and added a ton of delay on the bass drums, resulting in the woofer destroying Titanic (Underwater Dub).
The flipside sees a rare post-1995 recording by Arno: CEM Traxx 1. As the title suggests, this melancholic electro gem was created using the intricate machinery of the CEM Studio. Originally created as one half of a two-part composition for some project in 2003, it was never released before.

The EP closes with a typical Arno brainchild, the tongue-in-cheek acid banger XD5 Acid Master, from 1994. Tracks like this happen if you leave Arno unattended with a rather un-hip machine like the Kawai XD-5: he turns it inside out and uses it for things it was never intended for. Buckle up!

All tracks have been produced by Arno Peeters and mastered by Ruud Lekx. Label art by Botterman Ontwerp.

white & blue marbled vinyl

With his first release as EBM outfit Voltage Control on Antler Subway in 1989, Utrecht-based Arno Peeters can easily be considered one of the Dutch Dance pioneers.
Influenced by hip hop, electro and acid house, and his uncontrollable urge to experiment, he moved on to produce techno. Disappointed by the genre s conventions, he rather suddenly stopped with dance music altogether around 1995, letting a wealth of DATs with unreleased material collect dust in his studio.
To our great pleasure, U-TRAX was allowed to pick some nuggets from these archives, resulting in this Titanic EP and an album later this year.
Arno started experimenting with sound at very young age, resulting in his first cassette releases with experimental soundscapes in 1983. In 1986 he joined the notable Centre for Electronic Music (CEM), where he was able to take his experiments to a new level in a professional studio-environment.
In his techno episode , he recorded several 12 -es and CDs as Sp@sms and The Implant, and as part of Random XS, Urban Electro, African Nightflight and The AWAX Foundation, with most of his records being released on the famous DJAX label.
After turning his back on techno, he applied himself to more experimental music again. In 1996, he created AeroSon, a 40-minute sound collage that won him the first prize in the category Composers Under 30 at a high-brow international contest for electro-acoustic music. This piece was later released on the prestigious Mille Plateaux label.
Since then, his focus has shifted away from releasing music, towards working more project-based: on remixes, compilations and interactive (installations, video, sound design), building himself a successful career as radio maker, teacher and engineer, contributing to several award-winning documentaries and podcasts.
This EP is a nice cross section of Arno s dance productions, serving you some acid, techno and electro.
Titanic V1 was originally created to be a Random XS track, the techno band he formed in 1991 with Sander Friedeman. It was performed during their live set at one of the G.U.R.U. parties, organized by U-TRAX label boss DJ White Delight and label artist P.A. Presents.
This acid track was remixed into a techno monster when Friedeman replaced the 303 with a 101 and added a ton of delay on the bass drums, resulting in the woofer destroying Titanic (Underwater Dub).
The flipside sees a rare post-1995 recording by Arno: CEM Traxx 1. As the title suggests, this melancholic electro gem was created using the intricate machinery of the CEM Studio. Originally created as one half of a two-part composition for some project in 2003, it was never released before.
The EP closes with a typical Arno brainchild, the tongue-in-cheek acid banger XD5 Acid Master, from 1994. Tracks like this happen if you leave Arno unattended with a rather un-hip machine like the Kawai XD-5: he turns it inside out and uses it for things it was never intended for. Buckle up!

All tracks have been produced by Arno Peeters and mastered by Ruud Lekx. Label art by Botterman Ontwerp.

“The Colchester quartet’s first offering for tastemaker label Nice
Swan stands up as a vital, visceral cut from a band of any
demographic.” - DIY
 “Anorak Patch are unquestionably an alternative godsend” - So
Young
 “Rising Stars” - Daily Star
 Already championed by BBC 6 Music, BBC Radio 1, Radio X,
Daily Star, BBC, i Paper, DIY, DORK, So Young and more,
Colchester’s Anorak Patch have been quick to grab the
attention of tastemakers across the UK. They were even
snapped up by label Nice Swan Records, who have put out
releases from some of the UK’s buzziest acts, including Sports
Team, Silverbacks, Hotel Lux, FUR, Courting and Malady.
 Following breakout tracks ‘6 Week Party’, ‘Irate’ and ‘Blue
Jeans’, the 4-piece share new single ‘Delilah’, a tale of wanting
more than the small town you call home, and further proof of
why Anorak Patch are one of the UK’s most exciting young
bands to emerge in recent times.
 Of the track, the band say, “‘Delilah is a story. It’s about a girl
who’s struggling her way through life... the song is sort of a
snapshot of how difficult life can be when you are in a bad
headspace without good people around you. It’s a lonely place
to be. The ‘town’ is just a reference to wanting something more
than the place you grew up in... I guess in that sense it’s a little
autobiographical. We are from a little place in Essex, it’s not a
bad place, but we collectively dream that by playing our music
we will have a chance to move out of its orbit.”
 Anorak Patch are also set to perform their debut headline
shows, including in their hometown of Colchester next month,
and in London next year.
 Keyboardist Effie Lawrence formed the group in late 2019 with
high school friends Luca Ryland (drums), brother Oscar (guitar)
and bass player Eleanor Helliwell. The drummer being just 15,
and the oldest member 18, the new single continues to show
the band’s immense musical talent at such a young age.

Originally released on cassette in 1994 and now for the first time on vinyl, this is an incredible document from a teenage Arrington de Dionyso. All the seeds of his 30+ career are engrained on these fully formed Tascam recordings. From Arrington: "Orga Ar is how Old Time Relijun came into being. It was the first time I ever had a "real" drummer (Bryce Panic) come in to give me some tracks to build songs with, and then I had Aaron come in and play upright bass on one tune (Qiyamat). When they heard the tape they both asked me if I had ever thought about starting a band and getting some shows organized. It's so weird to imagine now, because I really didn't have my shit together to do the kind of live performance I wanted to do all by myself. So the idea was that we would start with the songs on the tape but allow them to "breathe" in the live setting. I think at first I really wanted the band to be mostly improvisational, and just using the lyrics as a way to have continuity. But after a lot of trial and error in setting up our own shows we decided that having a more structured setlist had better results in getting people to dance. The Olympia scene at that time was kind of "anti-dance party"- most of the punk shows downtown were heavily politicized and were more about the connected activism than about the music per se. For me at the time, I felt like the REAL "political statement" that needed to be made was for the music to be an affirmation of one's physicality, that movement and enthusiasm were both OK and sometimes necessary for self-and-social liberation. We weren't popular at all in the "scene" until years later, in fact all of our US tours were disastrous until we were invited to tour in Europe by an Italian fan who organized everything in 12 different countries. In pre-internet era Olympia, our only aims were playing fun shows for our friends, with little regard for reaching the outside world."

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard...the Remix / Version cuts to an existing vocal tune. Sit back and enjoy this historic set of sounds. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

What is probably the weirdest U-TRAX release ever, is now available again on original heavy weight vinyl and has been remastered for digital download and streaming.

Jo-I is Johan Sagel and nine of the drumtracks he made in the 90s with his quite un-hip Roland R-70 drumcomputer ended up on this heavyweight vinyl EP. Label boss DJ White Delight also abused Johan's R-70 together with DJ Zero One, adding a trancey acid re-interpretation of the Jo-I tracks to the EP.

Back in 1995, Johan was a young advertising professional, originating from the far Northern part of Holland, where only potatoes grow and very few people live. He later moved to the city of Groningen and became very active in the scene there, that included Thee J Johanz, of Bally Hoo fame. Johan teamed up with Reyer Caderius van Veen, who released a 12" as Lynx on the U-TRAX sublabel Phoq U Phonogrammen. Together they performed and recorded as Live Acid Performance (L.A.P.) 01 in the 90s.

Original release date: March 1995.
Available again on original 220 grams vinyl

- 2021 repress / white vinyl / comes in stickered sleeve / incl. dl code -

Ghost in the Machine returns to continue their adventures in the world of acidfueled industrial techno. This shiny white 12" sees them further exploring, stretching, establishing and reestablishing the boundaries of their own sound. Dirtier kicks, cleaner kicks, deeper kicks, techier techno and even more acidic acid. They actually managed to sneak a track on here that doesn't use a 303. A very bold move which will undoubtedly have farreaching consequences for the future of future dance music. Recommended if you like buying records.

Earlier this year, Transgressive reissued American
Canadian composer and activist Beverly GlennCopeland’s 1986 masterpiece, ‘Keyboard
Fantasies’, marking the 35th Anniversary of its
original release. Now, the label present ‘Keyboard
Fantasies Reimagined’, a collection of songs from
the legendary album, re-worked and re-imagined
by a collection of creative kindred spirits.
 The remix album and reissue of the original work
follow the Autumn 2020 release of Glenn’s album,
‘Transmissions: The Music of Beverly GlennCopeland’. ‘Transmissions’ was a career-spanning
album that includes compositions from his early
works including selections from ‘Keyboard
Fantasies’. It also included both new and archival
unreleased tracks and live versions. This collection
marked the first new release from Glenn-Copeland
since 2004. The New York Times called it a “lifespanning mixtape that moves from the mournful
torch songs of his youth to joyously soulful odes to
survival.”

Hannes Buder (born 1978 in the former GDR) is a musician, composer and improviser in the field of experimental music. His works concentrate on issues of movement, authenticity, intuition, minimalism, and slowness.

Buder's current projects include the bands 'Zug Zug' with Todd Capp and Andrew Lafkas, 'Gravity' with Hannes Lingens and Andrew Lafkas, the duo Nothingness with Sarah Jegelka, and his solo projects. Beyond that he has collaborated with Audrey Chen, Tony Buck, Audrey Lauro, Hilary Jeffery, Mike Majkowski, Steve Heather, Nicole Mitchell's Black Earth Ensemble, the Berlin Improvisers Orchestra and many others. Hannes Buder's Solo recordings include "Changes" (2000), "Dunkelbunt" (2004), "Openyoureyescloseyoureyes" (2006), "Changes II" (2015) and "Oustide WOrds" (2021). He performed concerts in Europe, Australia and in the USA.

Buder has also composed, improvised and recorded music for different dance (Oxana Chi, Judith Sanchez Ruìz), theater (Jörg Mihan, Johannes Maria Schmit) and film projects (Barbara Lubich, Annick Gaudreault). He's been giving workshops at festivals, music schools and with prisoners in jail. He studied guitar in Weimar and Dresden.

Polish beats-wizard Emapea returns to Cold Busted for a quick double-shot of crucial dub and phat riddims. Released on 7-inch vinyl, Emapea’s new single celebrates the return of the good life with choice sounds for ‘zoning out’ in the global dancehall. “Same Old Same Old” occupies the A-side with a potent downtempo skank and an infectious sing-song vocal. The vibe is introspective and heady, as echoed percussion swirls through the soundsystem speakers. Flip the wax for “Drop the Bass,” a deeper dancefloor cut with a prominent boom-bap beat and bouncy bass line. Maximum dub pressure is exerted, with splashes of delay effects and rhythmic flourishes as an emcee gives “direction to the entire planet.” In the hands of a top selector, Emapea’s new tracks are ready to move the soul.

Butterbandz returns with another absolute BANGER of an EP ‘King Heroin’. This is his second EP on the 7 Days Entertainment imprint and he is serving up some DOPE tracks. From start to finish you’ll be sure to find a groove you’ll enjoy. ‘Prometheus’ starts off the EP with an energetic techno track. It’s got a punchy synth over a sub bass with dreamy synth chords and some rockin’ drum programming. The second track ‘Get Down’ is simple yet effective. It’s got that Detroit feel that we all love and enjoy. Not really structured, kind of just flowing. The drums are knocking and the hi- hats are keeping up that energy. It’s a got a rough rugged bass paired with a synth that carries feelings of deep rage and clarity. Tying it all together is the vocal sample. For the title track ‘King Heroin’ Butterbandz teams with his older brother Generation Next to create this gem. It’s got some deep emotion but it will make you move nonetheless. Excellent high energy drum programming, distance reverbed synth pad, catchy piano pattern, in your face lead synth, and a off putting sub bass. These two artists make a dynamic duo. Lastly is ‘OD Soundtrack’ tying together a hard hitting EP with a little laid back tune to take you to a higher more peaceful place. The synth pad carries that smooth calm sound and then the kick is in your face out the gate. It’s got some airy flutes and grooving lead synth. This EP is going to be a staple in the growing legend of Butterbandz.

If it wasn't for the global lockdown, we might never have had the chance to hear one of this year's most intriguing and inventive albums. Lonely Guest was conceived and put together over the last 18 months by one of British music's true innovators: Tricky. Bu tas he's keen to make clear: this ain't noTricky album. Rather it's a thrilling meeting of musical mavericks, with the likes Idles' JoeTalbot pitting his unique approaches to songwriting against Tricky's otherworldly production. From an unsettling tale of isolation courtesy of Maxïmo Park's Paul Smith ('Christmas Trees') to the grunge stylings of Marta's 'Move Me', via the tense storytelling of London rapper Kway's 'On A Move', these diverse statements come together as a bold artistic statement of their own. The late artistic visionary and legend Lee "Scratch" Perry features vocals on 'Atmosphere' with Tricky and Marta. It is with great sadness that Tricky and the False Idols team acknowledge and honour Lee "Scratch"Perry's passing.

Strap in for another standout release from Hell Yeah, and their final 12" of the year. 'Lagos Connect' is a one-off dance floor bomb from Aura Safari, one of the hottest names on the Italian electronic-jazz-funk circuit. Vocals come from Nigerian singer Villy and the artwork is by long-time label collaborator Andrea Amaducci who finishes off this package in style.

Aura Safari are Alessandro Deledda, Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo. They contributed to the first volume of the Buena Onda compilation in 2020 and released the critical acclaimed Hotel Mediterraneo EP after years entrenched in the local scene of Perugia, attending the Umbria Jazz Festival every summer and legendary Red Zone Club during winter, both of which shaped the sound of Aura Safari. Now, they showcase their good-time grooves and vibrant vibes on two brilliant new tracks.

'Lagos Connect' is a gloriously upbeat tune that brims with musicality. The bass is fat, the chords seductive and the guitars slide in and out with funky charm. It immediately drops you in the middle of an open-air dance floor in high summer. Villy's soulful lyrics are socially and politically aware. They talk of living life with good vibrations even in the face of adversity. They speak of how society views those less fortunate and of staying true to yourself. They add realness and emotion to a sizzling and timeless track that will unite hearts and minds around the world. A reprise, radio edit and dub mix are also included, then 'Moving Rivers' ups the jazz-funk. It's another majestic arrangement packed with dazzling Rhodes chords, crashing drums and squelchy bass that demand that you move every limb in your body.

Keep yourself warm this winter with this pair of irresistible dance floor heaters from Aura Safari.